-r^ V 







^ -^^ ^ ., 















* S I 



c-^^ 



^. 






A 






xOe<. 



Ci- 



^-^^ 









#• 



XV „. 



c '^ '' « 












•^^^ O 



a\ , o n c ^ -/-^ 



■X, 



\0<=,. 






'^oo^ 



^^.. 







O- 



aV </* 

'^ ^ '' y s -> ^0 <' -^ , >. * . 

\ - -# ' 



^\ 



"oo^ 



x^^o. 














COLUMBIA UNIVERSITY STUDIES IN ENGLISH 



THE RISE OF THE NOVEL OF 

MANNERS 



COLUMBIA 

UNIVERSITY PRESS 

SALES AGENTS 

NEW YORK : 

LEMCKE & BUECHNER 
3C-32 West 27TH Street 

LONDON : 
HENRY FROWDE 
Amen Corner, E.G. 

TORONTO : 

HENRY FROWDE 
25 Richmond Street, W. 



THE RISE OF THE NOVEL OF 
MANNERS 



A STUDY OF ENGLISH PROSE FICTION 
BETWEEN 1600 AND 1740 



BY 



CHARLOTTE E. MORGAN, Ph.D. 




gtb iork 

THE COLUMBIA UNIVERSITY PRESS 

191 1 

All rights reserved 



^^' 



"^ 






Copyright, I911 
By The Columbia University Press 

Printed from type July, 1911 




Press of 
The New era printing couPANf 

LANCASTER. Pa. 



This Monograph has been approved by the Department of Eng- 
lish in Columbia University as a contribution to knowledge worthy 

of publication. 

A. H. THORNDIKE, 

Secretary. 



TABLE OF CONTENTS 

Introduction I 

Chapter I 
Romance and Anti-Romance 3 

General vogue of romances. Chivalric — Classical — Arcadian — 
Euphuistic — Allegorical and Political — Heroic — Miscellaneous. 
Types of Anti-romances. Comic — Picaresque — Narrative-Satires. 

Chapter II 
The Novel ( 1600-1700) 50 

Definition — Novels of the Cloak and Sword — Historical Novels — 
Feigned Histories, Pseudo-Memoirs, etc. — Novels of Contemporary 
Life — The Portuguese Letters — Mrs. Behn — Mrs. Manley. 

Chapter III 
The Novel ( 170Q-1740) 89 

The Transition in Taste and Ideals of Conduct, The Social Treat- 
ises. The Duchess of Newcastle, Mrs. Rowe — Other Contributory 
Forms : The " Character," the Dialogue, the Periodical. — The Do- 
mestic History : Mrs. Haywood, Mrs. Barker, Mrs. Aubin, Occa- 
sional and Anonymous Pieces — The Oriental Tale and Didactic 
Story. 

Chapter IV 
The Popular Fiction 115 

General Survey — John Bunyan — Daniel Defoe. 

Conclusion 
Conclusion 136 

Appendix A 
Summary of Parthenissa 138 

Appendix B 
Bibliography 143 

I. Works of General Reference. 

vii 



VIU 

2. Works of Special Reference. 

3. Sources of Bibliographical Information. 

4. A list of Prose Narratives first printed in English 

between 1600 and 1740. 

5. A list of the most important Reprints. 

6. A List of Collections. 

7. An Alphabetical List of the More Important English 

Writers between 1600 and 1740. 
Index 247 



PREFACE 

In the following dissertation two objects have been kept in 
view ; first, the presentation of a succinct account of the more 
important types of prose narrative current between 1600 and 
1740 with special reference to the novel of manners ; and 
second, the facilitation of further studies by supplying full bib- 
liographical details. To accomplish this two-fold purpose only 
the more typical and influential works have been considered 
in the essay, but to compensate for the consequent omissions, 
the minor works, together with discussions concerning author- 
ship, translation, sources, chronology, and the like, have been 
briefly dealt with in the footnotes and in the bibliography. 
To make the latter of the greatest practical value I have 
endeavoured to cite my authority for every title, and as far as 
possible have added the British Museum shelf number. 
Neither the essay nor the bibliography makes any pretence to 
completeness. This study is, so to speak, but a clearing of the 
ground in a field where little has been done and much remains 
to be accomplished. 

My indebtedness to previous studies, such as the general 
works of Dunlop, Cross, and Raleigh, and to the numerous 
monographs devoted to special periods and topics are indicated 
in the notes and bibliography. To Professor Joel E. Spingarn, 
of Columbia University, I am indebted for information bear- 
ing on the French development and for numerous valuable 
suggestions. My thanks are also due to Professor John W. 
Cunliffe, of the University of Wisconsin, for his kindness in 
procuring me reading privileges in the Bodleian Library ; to 
Professor Ashley H. Thorndike and Professor William W. 
Lawrence, of Columbia University, for helpful criticism, and 
most of all to Professor William P. Trent, of Columbia Uni- 
versity, under whose kindly guidance this study has been made. 
I desire, also, to express my thanks to my mother, without 
whose constant encouragement and counsel this book would 
never have been written. 



THE BEGINNINGS OF THE NOVEL OF MAN- 
NERS IN ENGLAND 



INTRODUCTORY 

The English prose fiction of the century and a half between 
the publication of the Euphues and the Arcadia and the ap- 
pearance of Richardson's Pamela, exclusive of those three 
masterpieces Pilgrim's Progress, Robinson Crusoe, and Gulli- 
ver's Travels, possesses scant literary merit and slight general 
interest. To the student, however, the narratives from 1600 
to 1740 are not devoid of value, since the transition in con- 
tent, structure, and style from the courtly romances and 
cynical rogue stories to the idealistic novel of manners was 
largely effected through the numerous translations and imi- 
tations of works of foreign fiction. Together with the 
conduct-book, the drama, and the periodical, these gradually 
moulded the taste of that fiction-reading public, which, by its 
enthusiastic reception of the Richardsonian stories gave such 
a stimulus to the rapid development of the novel of manners. 

A chronological list of about five hundred prose narratives 
printed between 1600 and 1740, compiled from the Stationers' 
Register, the British Museum Catalogue, and other sources 
will be found in the bibliography. For purposes of discussion, 
however, the chronological method proved so cumbersome 
in dealing with the large number of occasional and anony- 
mous works, many of which are reprints of Elizabethan pro- 
ductions and the majority translations or close imitations of 
French and Spanish narratives, that it seemed wiser to discuss 
in the text, only significant and prominent examples of several 
loosely defined groups, and to comment in the bibliography 
very briefly upon the remainder. 

Before we proceed to any classification, a distinction must 
be drawn between literary and popular fiction. The former 
was written for a limited aristocratic public by authors con- 
sciously conforming to recognized canons, in order to attain 
2 1 



\ 



certain artistic ends. The latter, i. e. popular fiction, was 
written, regardless of rules, to catch the fancy of readers at 
large. In the seventeenth century, between these two groups 
of fiction, the aristocratic and the plebeian, there was little 
interrelation. From 1625 or earlier, to about 1700, the literary 
fiction consisted almost exclusively of translations and imita- 
tions of the continental narratives which were in vogue at the 
Stuart courts. The popular fiction of the same period con- 
sisted to a very large extent of redactions of the Elizabethan 
romances and of journalistic narratives imbued with the polit- 
ical and religious temper of the time. Out of the latter grew 
Pilgrim's Progress and The Life and Death of Mr. Badman. 
Toward the very close of the century, after the expulsion of 
the Stuarts and their more or less French court, a change took 
place in the nature of the reading public: — the limited aris- 
tocracy on the one hand, and the plebeian readers on the 
other, combined to form one general public possessing many 
interests and a wide range of taste. This most significant 
change was brought about by two forces, the breaking down 
of the patronage system, with the consequent dependence of 
authors upon the public, and the coincident rise of the commer- 
cial class. The influence of the stolid, practical, self-satisfied 
merchants and manufacturers is shown by the practical moral- 
ity, the choice of commonplace themes, and the emphasis on 
prosaic details. All of these features are prominent in the 
narratives of Defoe, of Richardson, and, though to a less 
extent, of Swift. To Richardson, however, belongs the honor 
of fusing the narrative tradition, as it was handed down 
through the romances, with that which came through the 
popular fiction. 

Of the literary fiction there are three prominent types: 
the romances, the anti-romances, and the novels or brief tales. 
The popular fiction, generally speaking, had no literary merit; 
and, as it had no other aim than immediate success, it rarely 
possessed more than ephemeral interest, so that on the whole 
it may be regarded as a negligible factor. The writer has, 
therefore, considered only those popular productions which 
in a measure paved the way for Bunyan and Defoe, or contrib- 
uted directly to the development of the novel of manners. 



CHAPTER I 



THE ROMANCES 



The romances of the seventeenth century have long since 
fallen into oblivion ; yet they were read with avidity not 
merely at the time of their publication, but for a century there- 
after. Works so enjoyed by successive generations could not 
fail to exert a deep influence on both writers and readers of 
the Richardsonian period. In thus speaking of the " seven- 
teenth century romances," we must not infer that the two hun- 
dred and more narratives which are grouped under this head 
are all cut after one pattern. There are, in addition to the 
anti-romances and miscellaneous works, at least seven well de- 
fined types of romance: the chivalric, the Arcadian, the Euphu- 
istic, the classical, the political, the allegorical, and the heroic. 
Unfortunately, so few English romances were produced during 
this period, and these few were such servile imitations of the 
continental models, that the evolution of the form can be traced 
only in a general way. 

The Chivalric Romances 

If we turn to the chivalric romances of the Stuart period 
expecting some such charming versions of the old Arthurian 
and Carolingian materials as those of Malory and Lord Ber- 
ners, a bitter disappointment awaits us. Arthur and the Round 
Table, Launcelot and Guinivere, Tristram and Iseult, together 
with Charlemagne and his paladins were no longer favorite 
themes. During the hundred and forty years from 1600 to 
1740, Arthurian romances seem to have appeared only three 
times, in 1625,1 1634, and 1700; the Morte Darthur after the 

^ The most ancient and famous History of the renowned Prince Arthur, 
King of Britain. Newly Refined, 1625. Reprinted 1634. From this was 
probably made the chapbook Great Britain's Glory, being the History of King 
Arthur [1700?]. These may have been revisions of Lord Berners' King 

3 



edition of 1634- was not reprinted until 1817, and the History 
of the most noble . . . knight, Arthur of Lytell Brytaine by 
Lord Berners was not reprinted, at least in its original form, 
until 1812. The only fresh endeavor to deal, in narrative 
form, with the Arthurian material^ is to be found in the little 
known epics* of Sir Richard Blackmore. Less aristocratic 
heroes, such as Guy of Warwick, Bevis of Hampton, and their 
like, were not so completely eclipsed in popular esteem by 
heroes of more recent date. Even after the Restoration such 
hack writers as Nathaniel Crouch,*^ and Francis Kirkman 
re-worked the old material, added new wonders and heightened 
the extravagant style, producing degenerate versions of Hiion 
of Bordeaux, Paris and Vienne, Valentine and Orson, and 
the other good old stories, or concocting new ones such as 
Tom of Lincoln,^ and The Seven Champions of Christen- 
dom. The crude language, wretched print, and general inferi- 
ority of the editions justify us in dismissing them as chap- 
books. In passing, it is interesting to note that though rough 

Arthur, but there is no record of an edition of this work in the seventeenth 
century. His Huon of Bordeaux was reprinted in 1601, and was probably 
the basis of the seventeenth century chapbooks dealing with that hero. 
Utterson edited Berners's romances in 1812. Cf. the article on "John 
Bourchier " by Sidney Lee in the D. N. B. 

" A reprint of the edition of Wynkin de Worde by Stansby. 

^ There were, however, plays drawn from the Arthurian material, as for 
example, Dryden's King Arthur, or the British Worthy, 1691. 

* Prince Arthur in 1695 and King Arthur in 1697. 

" He took the pseudonym of Burton, but whether Richard or Robert is un- 
certain, and flourished between 1632? and 1725?. He was a most prolific 
writer, forty-five items being attributed to him in the D. N. B. These 
include religious pieces, such as Two Journies to Jerusalem, accounts of 
explorations, such as The English Acquisitions in Guinea and the East 
Indies (based on Godwin's Man in the Moon), and popular histories, suck 
as Jane Shore and the romances. Dunton wrote of him, " I think I have' 
given you the very soul of his character when I have told you that his' 
talent lies at collection. He has melted down the best of our English' 
histories into twelvepenny books which are filled with wonders, rarities, 
and curiosities." See the article on " Burton (Richard or Robert)" by 
W. E. A. Axon in the D. N. B. 

^ The title page of this work gives an excellent idea of the later chivalric 
romances. Cf. Bibliography, under 1605. 



in style and devoid of literary merit, they usually possess the 
virtues of clarity and brevity, so conspicuously absent in more 
literary productions. 

The chivalric romances which really concern us are the 
Spanish cycles of Amadis, Palmeryn, and Belianis, which 
made their way into England by way of France late in the 
sixteenth century .^^ The first. The most excellent and plaisante 
Booke, intituled Treasurie of Amadis of Gaule was entered 
for Henry Bynnerman in 1567, and under slightly varying 
titles, appeared again in 1596, 1619, 1664, and 1694, in addition 
to several metrical versions. Amadis was perhaps the most 
popular of the Spanish romances, but many others were 
in high favor. Palmeryn d'Olivia translated by Munday in 
1586, was reprinted in 1615 and again in 1669; Palmeryn of 
England, another of Munday 's translations, appeared in 1587, 
and was reprinted four times during the ensuing century;^ 
Don Belianis, or the Honour of Chivalry first appeared in 
1598 and had run through at least nine editions by 1700. In 
general plan, these romances resemble the older ones ; the story 
is the career of the ideal hero from the cradle to the grave — 
his feats in war, his prowess against the powers of darkness, 
and his adventures in love. They differ from the Arthurian 
and Carolingian cycles in having a more complicated plot, a 
more sophisticated hero, an elaborate code of etiquette, and 
a larger element of the supernatural and of the sentimental. 
The method of narration is simple and direct, that is to say, 
epic; there is not, as in the classical romances, an attempt to 
" account for the story " by means of a framework. 

The English made a few feeble attempts^ to write similar 

"* Interesting in this connection, is a note in Appleton's edition of Don 
Quixote, according to which, " it was a common device for authors of such 
romances to claim that their books were translated from the English." P. 
26 n. on Historia del famoso caballero Tiranie el Blanco (1460). 

'In 1616, 1638-39, 1664, 1690. 

^ Such seem to be The most Famous and Delightful History of the Greene 
Knight and the most Beautiful Princess Beroshia and the Heroical Adven- 
ture of the Knight of the Sea, the latter of which is described as " ludicrously 
overdone " by J. P. Collier, Bibl. and Crit. Account of the Rarest Books 
in the Eng. Lang., ii. 217, 



romances, but the only native works to acquire any fame are 
three narratives* by Emanuel Ford. M. Jusserand® classes 
Ford as a follower of Sidney, and the use of such devices as 
infant exposure, shipwrecks, slavery, oracles, and pastoral set- 
ting indicate a superficial familiarity with the Arcadia and the 
Greek romances, but on the whole, The History of Ornatus and 
Artesia, the History of Parismus, the Renowned Prince of 
Bohemia and the History of Montelion, Knight of the Oracle 
are a combination of the early sentimental stories and the 
chivalric romances. The number of editions is a striking proof 
of their popularity. Onm^w.?, published in 1598, reached its sev- 
enth edition in 1683 ; Parismus also printed in 1598, reached its 
thirteenth edition in 1649, its twenty- fourth in 1699, and went 
through numerous cheap editions in the eighteenth century. 
Montelion seems to have made its first appearance in 1633, 
yet it reached its seventeenth edition in 1724, and served to 
give added point to a satire^** which appeared about the middle 
of the seventeenth century. 

Assuming the name of " Montelion, Knight of the Oracle," 
an anonymous royalist^"* sent forth a delightful burlesque com- 
bined with a clever religious and political satire. The oppor- 
tunity to satirize contemporary affairs was afforded by the 
"life" of Don Juan Lamberto, "beginning with his birth, 
education and valiant deeds and carrying him through the Civil 
War, including his defeat of the forty tyrants and his jesting 
with the Baron of Sussex." Part two narrates " How Crom- 

^ The most pleasant History of Ornatus and Artesia, 1598. Of the famous 
and pleasant Historie of Parismus, Prince of Bohemia, 1598. The Famous 
History of Montelion, Knight of the Oracle, 1633, 

•Jusserand, The English Novel in the Time of Shakspeare, pp. 192-198. 
Full titles of the books referred to in the text, together with the place and 
date of publication, will be found in the bibliography. 

^^ Don Juan Lamberto; or, a Comical History of the Late Times. The 
First Part. By Montelion, Knight of the Oracle. The Second Part, 1661. 
The B. M. copy contains both parts. There is a note in it suggesting 
that Part I. was originally published c. 1657 and that it was re-issued with 
the second part in 1661. 

"" This work is sometimes attributed to John Phillips, who certainly 
wrote Montelion, 1660; or the Prophetical Almanack, but Sidney Lee in 
the D. N. B. assigns it to Thomas Flatman. 



well, Soldan of Britain dyed, and what befel his son the Meek 
Knight. The Birth of Sir Harry Vane, Knight of the Most 
Mystical Allegories and how he was honoured by the Priests 
of the Temple of Blind Zeal " and disgracefully overthrown at 
the Restoration. 

This is, indeed, a most summary account of the chivalric 
romances, but it is hoped that from it the reader will have 
gathered some idea of the salient features of this influential 
type of fiction. The numerous allusions in plays, essays, 
poetry, and fiction show that for two centuries at least, the 
names of Palmeryn and Amadis, of Parismus and Montelion, 
were as familiar and suggestive as Don Quixote and Robinson 
Crusoe are to-day. Moreover, it is largely to these romances 
that the early novel is indebted for its conception of the nar- 
rative as the direct chronicle of "the whole life and principal 
adventures " of the hero. 

The Classical Romances 

The classical romances, as the term was understood in the 
seventeenth century,^^ signified not only Greek and Roman 
prose fiction, but also poetical narratives like those of Ovid, 
and books of travel, natural science and history, such 
as those of Herodotus, Pliny, Ctesias, and Plutarch. The 
poetry, travels and history may at once be eliminated, for 
though they contributed much material and many devices, they 
are not in the main line of development. The fiction, proper, 
speaking very generally, comprised short tales of the Milesian 
order, Barlaam and Josaphat, Apollonius of Tyre, two real- 
istic and satirical narratives written during the Roman Empire, 
and the erotic Greek romances.^- 

The original collections of Milesian and similar tales have 
been lost but many individual stories have survived.^^ They 
were short tales of intrigue, usually immoral, often indecent, 

" Cf. p. D. Huet, De L'Origine des Romans, Lettre a M. Segrais, in 
Huetiana (Ana, vol. vii.). 

^ J. C. Dunlop, History of Prose Fiction, ed. Wilson, i. i-iis, ii. 246 sq. 

" In summaries of Parthinius and Photius for example. See Rohde, Der 
Griechische Roman, p. 114. 



8 

more or less satirical, and generally clever. Incorporated in 
various forms in the literatures of Greece and Rome, they were 
familiar to the scholars of the Middle Ages, and are thought 
to be the source, though perhaps not directly, of many of the 
fabliaux of the Oriental type. During the Renaissance, they 
were revised by writers of novclle such as Boccaccio, Bandello, 
and Sacchetti, and thus were made familiar in Elizabethan 
England. With the new century, the taste for the romantic, 
the aristocratic, and the refined predominated, and these short 
stories gave way before the long romance. The Restoration 
brought the realistic tale into favor again, and we find the old 
Greek stories with their Italian modifications filling collections 
such as The Delightful Novels (1686), and A Banquet for 
Gentlemen and Ladies (1703). They never, however, regained 
their old prestige, for the new realistic story, imported directly 
from France, was not merely a hard and fast intrigue, but a 
careful study from contemporary life. 

Barlamn and Josaphat^^ and Apollonius of Tyre had long 
been familiar to readers, but so far as the narrative is con- 
cerned, are of little importance in the seventeenth century. 
The former, during the period with which we are concerned, 
was reprinted only in cheap and abbreviated editions.^^ Dun- 
lop remarks that " it was undoubtedly the model of that species 
of spiritual fiction so prevalent in France during the sixteenth 
and seventeenth centuries " ; but so far as the writer knows, 
there are no English works modelled upon it. Biographical 
accounts of saints were not much in demand in Protestant 
England ; in fact, a rather tame version of the life of St. Theo- 
dora^^ (1687), by Robert Boyle, seems to be the solitary 
example. The Apollonius was extremely popular in the 

^*The original, written in the eighth century, by John of Damascene is a 
Christianized version of an Oriental story. Among its many interspersed 
episodes is the casket story used by Shakspere ; cf. Dunlop, i. y6. 

"In 1669, it was reprinted and bound with a moralized version of Pan- 
dosto, and in 171 1 printed as The History of the five wise philosophers; or, 
the wonderful relation of the life of Jehosophat, the hermit son of Averarian, 
etc. 

" The Martyrdom of Theodora and Didymous. By a Person of Honour 
(Robert Boyle). 



9 

Middle Ages and to some extent in the Renaissance, but after 
that, it was seldom printed. It appeared in an Anglo-Saxon 
fragment, in the Gcsta Romanorimi, in the Confesso Amantis 
of Gower, in a reprint by Wynkin de Worde, in Twyne's 
Patterne of Paine full Adventures (1576), and finally was 
dramatized by Shakespere in Pericles. 

The two examples of Latin fiction are the Golden Ass of 
Lucius Apuleius and the fragments of the Satyricon of 
Petronius Arbiter. The former, based on an earlier Greek 
work, relates in satirical vein the supposed adventures of its 
author when metamorphosed into an ass. It was very popular 
in England, if the number of editions is any criterion. The 
first translation by William Adlington appeared in 1566, and 
was re-printed in 1571, 1581, 1596, 1600, and 1639, The epi- 
sode of Cupid and Psyche was particularly admired and often 
utilized for plays and poems.^^ As a whole, or as a prose nar- 
rative. The Ass was not imitated until the end of the century, 
when it furnished a model for travels of inanimate objects, 
and encouraged the use of fictitious travels for satirical pur- 
poses. The work of Petronius,^^ which purports to be a 
satirical account of the corrupt life at the court of Nero, was 
less generally known, partly on account of its fragmentary 
form and partly because of its scandalous character. There 
seems to be no English translation before 1663. That was 
reprinted in 1677 and 1743. A version by Thomas Brown 
of Shropshire came out in 1708, and a few years later, in 1736, 
still another translation was made by John Addison. The 
direct influence of Petronius is seen in the elegant neo-classic 
satires with which pedants of the Renaissance amused them- 
selves, as for example, the now forgotten Misoponeri Satyri- 

" Gosson, writing in 1579, condemns such a piece "lately played at Paules" ; 
Hazlitt mentions a poem, Cupid's Courtship ; and Shakerley Marmion pro- 
duced, in 1637, a Morall Poem intituled the Legend of Cupid and Psyche; 
of. Dunlop, i. 113, n. 

" Petronius ; a Study in Ancient Realism, by F. F. Abbott, Sewanee Review, 
1899, vii. 435-43. 

H. T. Peck, Trimalchio's Dinner from the Satyricon of Petronius. 



10 

co)i/^ the Comus-^ of Puteanus and the Pantaleonis Vaticinia^^ 
of James Hume. Precisely what relation the Satyricon bears 
to later fiction is exceedingly difficult to determine. In its 
biographical structure, interspersion of stories, and realism of 
presentation, it resembles the picaresque narratives, and no 
doubt the writers borrowed episodes and devices, but I suspect 
that their indebtedness does not extend beyond matters of de- 
tail. Likewise, the indebtedness of the popular court memoirs 
and similar narratives to the Satyricon is still a matter for conjec- 
ture, but it is doubtful if it was greater than the supplying 
of a vague classical sanction to the shameless accounts of 
court scandal. 

All the classical fiction we have so far considered was quite 
overshadowed by the Greek erotic tales-- to which the seven- 

^^ Misoponeri Satyricon cum notis aliquot ad obscuriora prosae loca, et 
Graecorum interpretatione. Lugduni Batavorum, 1617. 

^ Eryci Puteani Comus sive Phagesiposia Cimnieria. Somniurn ; Lovanii, 
1608, 161 1. Reprinted at Oxford, 1634. This work furnished Milton with 
a hint for his masque. Cf. Immanuel Schmidt, Milton's jugendjahre und 
jiigendwerke, Sammlung gemeinverstandlicher . . . Vortrdge, new series, 
V, xi, no. 243. Hamburg, 1896, 

^Pantaleonis Vaticinia, Satyra, Jacobo Humio, Rathomagi, 1633. For an 
account of these books, see Begley's edition of Nova Solyma, ii., pp. 
385-87. 

^ For a discussion of these works see : E. Rohde, Der Griechische Roman 
und seine Vorl'dufer, C. J. Goodwin, Romance Writing among the Greeks. 
Sewanee Review, 1897, v. 290 ff., 409 ff., M. Oeftering, Heliodor und 
seine Bedeutung fiir die Litteratur, F. M. Warren, History of the Novel 
prior to the Seventeenth Century, and P. D. Huet, De L'Origine des Ro- 
mans, Huetiana (Ana., Vol. VIII.). 

Scholars still disagree as to the precise dates, sequence and origin of these 
romances, but the majority agree with Rohde that they were written in con- 
siderable numbers by the Sophists of the third and fourth centuries A. D., 
and were a natural evolution from the erotic stories of the Greek poets, the 
ethnographic Utopias, pseudo-histories, travels, fables, and Milesian tales. 

The principal romances are : Of the Incredible Things in Thule, or, Dinias 
and Dercyllis, by Diogenes ; the Babylonica, by lamblichus ; the Ethiopian 
History of Theagenes and Chariclea, by Heliodorus ; Leucippe and Clitophon, 
by Achilles Tatius ; Daphnis and Chloe, by Longus ; Habrocomas and Anthia, 
by Xenophon of Ephesus ; and Hysmene and Hysmenias, by Eustathius or 
Eumathius. The last is much later than the others, not having been written 
until the twelfth century. Heliodorus, Tatius, and Longus are translated 
by R. Smith in the Bohn Library. All references are to this translation 
in the edition of 1906. 



11 

teenth century romances are largely indebted. Comparatively 
few of the Greek narratives have come down to us in their 
entirety, but there are fragments of others embodied in the 
summaries of Photius and Suidas. Practically all with which 
we are familiar to-day were current in the seventeenth cen- 
tury, for they are mentioned by Bishop Huet. Only three, 
The Ethiopian History of Heliodorus,-^ the Leiicippe and 
Clitophon-^ of Achilles Tatius, and the Daphnis and Chloe of 
Longus were translated into English, but as French and Latin 
were familiar to the educated there is no reason to suppose the 
remaining romances were not almost as well known. The 
Daphnis and Chloe-'" is unique in being a simple pastoral, quite 
free from the absurd adventures and marvels of the Helio- 
dorian romances. It is the most artistically perfect, yet, al- 
though several times translated and frequently alluded to, it 
failed to stimulate imitation until the time of Rousseau, when 
the taste for exotic naturalism gave it a tremendous vogue.-^ 
The famous Ethiopian History by Heliodorus, of which 
Bishop Huet wrote so enthusiastically, served as the pattern 
for the other Greek romances. The general theme is aptly 
described by Rohde,-^ " a couple of lovers fly before their 
pursuers from land to land, amid a gloomy alternation of mis- 
fortune, imminent ruin is averted at the last moment, and 
virtue obtains its triumph and reward in plenary happiness." 
The setting is sometimes an indefinite historical era, but there 
is no attempt to depict historical personages, to describe accu- 
rately old customs, or to reproduce the atmosphere of a past 
age. The characters — and this is true of all the romances — 
are for the most part uninteresting puppets, submissively 

^ The date of the original translation by Underdowne is uncertain. It was 
entered on the S. R. for Coldock in 1569, but the earliest dated edition is 
that of 1587. The undated copy in the Bodleian is presumably older. 

^ Hazlitt mentions an edition of 1598, but the better known translation is 
that by James Hodges in 1638. 

-'Translated in 1598 by Angell Day and again, in 1657, as "a sweet pas- 
toral for young ladies." 

•* Cf. W. W. Gregg, Pastoral Poetry and Pastoral Drama, p. 12. 

^^ Quoted by Dunlop, i. 15. His reference is to the German edition of 
Rohde, p. 378. 



12 

enduring all the whims of fate. The heroine^* alone seems to 
have any initiative and our interest in her is aroused more by 
the unusual phenomenon of feminine leadership than by the 
charm or strength of her personality. The attention centers 
around the series of episodes and scenes through which the 
characters pass. In the sequence of these episodes no effort 
is made to develop a central theme. The only attempt to give 
even the semblance of unity consists in having the final result 
work out the fulfillment of an oracle, and in having dreams and 
visions prepare the way for lesser episodes. The desire is to 
accomplish the result in a manner most surprising to the reader. 
Surprise and suspense are two of the most striking qualities 
of the Greek romances, and writers and critics of the seven- 
teenth century insisted upon them as indispensable in a good 
romance. 

The structure, awkward enough in any case, was further ham- 
pered, either by putting the story in the mouth of a third person 
who figures in a sub-plot, or by letting the hero describe his 
own adventures after they have taken place. Thus the point 
of view is that of an onlooker rather than that of a participant, 
or in other words, is indirect, passive, and reflective, instead of 
being, as in the chivalric romances, direct and active. This 
reflective point of view characterizes not only all the seven- 
teenth century romances but also the novels of Richardson 
and the narratives of Defoe. The indirect method of narra- 
tion led to the abrupt opening in the midst of things, for the 
supposed narrator took up the thread where the hero or hero- 
ine crossed his path, and worked both forward and backward, 
incidentally rambling off into his own affairs and the life- 
histories of all chance acquaintances. This method, also, the 
seventeenth century servilely copied — we find La Calprenede 
and his contemporaries rivalling Heliodorus in the " art of 
holding the suspense " by introducing a new story at every 
crisis. The action was still further complicated by disqui- 
sitions on love not unlike the love dubhii,-^ by resounding 

^ We meet the type in the Elizabethan drama, notably in the comedies and 
tragi-comedies, for instance, Shakspere's Rosalind, Beatrice, Portia, but 
seldom in the fiction. 

^ Particularly in the Leucippe and Clitophon. See pp. 354, 363, 375. 



13 

hortatory passages both in and out of season, and by long 
descriptions of so-called natural scenery. We are never left 
in doubt as to the precise appearance of the sympathetic rocks 
and trees to which the unfortunate characters confided their 
woes. The style, ornate in the extreme, well suited the matter. 
The carefully wrought descriptions, the appropriate phrasing 
of sentiments, and the " elegance " of the diction rivalled the 
subject-matter in holding the attention. In the peculiar bal- 
ance and antithesis, in the far-fetched figures, in the " un- 
natural natural history," in the subtle playing on words, we see 
the model of the Euphuism of the Elizabethans, and of the pre- 
ciosity of the seventeenth century. 

The widespread popularity of these romances can scarcely 
be gauged by the number of editions, but the fact that Helio- 
dorus^" ran through ten editions in English between 1587 and 
1700 is at least suggestive. We find, too, that the dramatists 
ransacked these romances for episodes and situations.^^ More 
directly they furnished material for such a play as Gough's 
Strange Discovery (1640), founded on Heliodorus, and Settle's 
Fatal Love (1680), drawn from Leucippe and Clitophon. 
Their vogue is to be explained on the ground that they satis- 
fied the taste of the time for the theatrical, the complex, the 
marvellous, the sentimental, and, to a certain extent, for the 
morbid. They were the product of a sophisticated and deca- 
dent civilization, but they possessed the superficial eiTectiveness, 
the fatalism, and the word-painting with which to capture the 
fancy of the imaginative, sensation-loving Elizabethans. And 
at the same time, they were characterized by an over-refine- 
ment and unreality which appealed strongly to European 
society at the close of the Renaissance, when men were 
once more looking backward rather than forward, for re- 
finement rather than strength, and seeking to escape from, 
rather than to cope with, the hard facts of reality. The influ- 

^ Cf. Oeftering, Heliodor und seine Bedeutung fur die Litteratur. 

^ It is hardly necessary to mention the devices of infant exposure, the 
fulfilling of an oracle, sleeping potions, shipwreck, mistaken identity, and the 
like, which figure so prominently in the romantic comedies of Shaksperc, 
Beaumont and Fletcher, and their contemporaries. 



14 

ence of the Greek erotic romances cannot be over-emphasized. 
They were an incentive to the cultivation of the sentimental 
and artificial in all phases of life and literature, and at the 
same time they served as models in structure, style, content, 
and spirit, for those seventeenth century romances which imme- 
diately preceded the novel of manners. As Mrs. Barbauld^- 
suggestively commented in discussing Richardson's predeces- 
sors: "If we were to search among the treasures of ancient 
literature for fiction similar to the modern novel, we should 
find none more closely resembling it than ' Theagenes and 
Chariclea.' " 

The Arcadian Romances^^ 

Among the most popular of seventeenth century romances 
was the Arcadia of Sir Philip Sidney, which, though first 
printed in 1590, was so widely read in our period that it very 
properly calls for some consideration. In this work Sidney 
combined the chivalric and Greek narratives in a manner 
highly suggestive of the heroic romances. To put it briefly; 
he was indebted to the Amadis cycle for episodes,^* and to 
Heliodorus, Montemayor, and Sannazaro for the design, a 
semi-pastoral in which courtiers and ladies-in-waiting, posing 
as shepherds and shepherdesses, figure in endless love scenes 
interspersed by duels, battles, and shipwrecks. Looking 
toward the later development, we note three significant fea- 
tures in the Arcadia: first, the shifting of the interest for- 
ward from the adventures ensuing on the elopement, as in the 
Greek romances, to those concerned with the wooing of the 
heroine; secondly, the idealizing of the characters to make 
them represent the " perfect courtier " and the " perfect lady " ; 
and thirdly, the mingling of the Greek indirect method of 

^ The Correspondence of Samuel Richardson. A Biographical Account, 
by Anna Laetitia Barbauld. London, 1804, i. xi. 

^ For a detailed discussion see : The Countess of Pembroke's Arcadia, ed. 
H. O. Sommer, K. Brunhuber, Die Arcadia und ihre Nachlaufer, S. M. 
Davis, Life and Times of Sir Philip Sidney, which contains a full summary 
of the Arcadia, and W. W. Gregg, Pastoral Poetry and Pastoral Drama, 
pp. 142-154. 

"Sidney's indebtedness to Bk. ii of Herberay des Essarts's translation of 
the Amadis has been pointed out by Brunhuber and by W. V. Moody. See 
also a note in Upham, The French Influence in English Literature, p. 50. 



15 

narration and its accompanying sentimental and reflective point 
of view with the direct method of the romances of chivalry. 
Yet it must not be inferred that the Arcadia is a mere con- 
glomeration. It is decidedly the best romance we shall have 
to consider, a masterpiece of its kind, and furthermore, in 
characterization, notably in the sympathetic delineation of 
Philoclea and Pamela, there is nothing comparable with it 
until the narratives of Richardson. That Richardson named 
his " virtuous serving-maid " after Sidney's heroine is an inter- 
esting instance of literary relationship.^^ 

The original edition appeared in 1590, and was so popular 
that the fourth reprint was made in 1599. The new century 
saw no waning of its vogue. During the forty years preced- 
ing the outbreak of the war, it was printed no less than nine 
times, three times more by the end of the century, and shortly 
thereafter "modernized" by a certain Mrs. Stanley.^® There 
were also, several additions, continuations, and dramatiza- 
tions.^'^ References to the Arcadia are legion. We all know 
Milton's acknowledgment that the " vain amatorious poem " 
was a book " in that kind full of worth and wit."^^ Waller, 
Cowley, Sir William Temple, and Bishop Hurd all read it 
with pleasure. Finally, Addison, it will be remembered, men- 
tioned it among the books in " Leonora's Library."^* Indeed, 
so great was the reputation of Sidney's Arcadia that it was 
honored with both German and French translations, and in 
161 1, we find Du Bartas referring to Sidney as one of the 
" three firm pillars of the English speech. "*° The Italian 

^ Jusserand, The English Novel in the Time of Shakspere, p. 274. 

^^1590, 1606, 1613, 1623, 1627, 1628-29, 1633, 1654-5, 1662, 1674, 1725. 

^^ A Supplement of a Defect in the Third Part, by the Earl of Stirling in 
1 62 1, a Sixth Book by Robert Beling in 1624, a continuation by Mrs. Weames 
in 1651, a poetical version of an episode, the much read Argalus and Par- 
thenia by Quarles, in 1629, and dramatizations like Shirley's Arcadia, c. 
1630-40, and Glapthorne's Argalus and Parthcnia, c. 1639. See Ward, III., 
102. 

^ Eikonoklastes, Section I. — Works, London, 1801, iii. 451. 

^^ Spectator, 37. 

*" Jusserand, The English Novel in the Time of Shakspere, p. 274, mentions 
that two translations appeared so close to one another, 1624 and 1625, as to 
give rise to a bitter quarrel. He also quotes The Week of Du Bartas from 
Les Oeuvres (1611). More and Sir Nicholas Bacon were the other " pillars." 



16 

Biondi referred to Sidney as "the Phcenix" of romance 
writers, whose " Arcadia he was unable to translate but hoped 
to imitate."'*^ As a matter of fact his romances are far more 
in the manner of the French adaptations of Heliodorus than 
of Sidney. 

Imitations, strange to say, were not very numerous. In 
England about the time of the publication of the Arcadia, 
Greene, Lodge, and others wrote, to borrow their own phrase, 
" after the manner of Sir Philip Sidney." They imitated, 
however, merely the externals, and in a few years their works 
were reprinted only as chapbooks. During the seventeenth 
century, although many romances were given an Arcadian 
title and many authors were indebted to it for their episodes, 
there was only one close imitation, The Countess of Mont- 
gomery's Urania (1621), by Lady Mary Wroth. This most 
invertebrate romance has never been reprinted but because the 
authoress was " niece to Sir Philip Sidney," it has received far 
more attention than it deserves. The other romances of the 
time were translations or close imitations of the French. In 
short, so far as our own fiction is concerned, the influence 
of the Arcadia although it remained a popular book for so long, 
due in part, perhaps, to the prestige of Sidney's name, is a neg- 
ligible factor. Its vogue is interesting as showing that there 
already existed in English fiction characteristics and tenden- 
cies which, had it not been for the political disturbances that 
checked literary development, would in all probability have 
produced the same sort of romances that were later imported 
from France, What influence, if any, the Arcadia had on the 
continent is purely a matter for conjecture.*^ No study has 
been made of its influence on French fiction, though its likeness 
to D'Urfe's Astree, and the characteristics which it has in com- 
mon with the heroic romances offer an interesting field for 
speculation. 

"■ Preface to his romance Donzella Desterrada, which appeared in English 
in 1635. 

*^ In addition to the translations of 1624 and 1625, M. Jusserand cites a 
play, Mareschal's Cour Bergere (1640), mentions that a copy of the 1605 
edition of the Arcadia was in the Jesuit library that later came into the 
possession of Fouquet, and states that Niceron, Florian and Chapclain 
admired it. The Eng. Novel, p. 279. 



17 

The Euphuistic Romances 

The other great Ehzabethan romance, the Etiphues*^ of 
John Lyly, is less obviously indebted to its chivalric and Greek 
predecessors. Indeed, in spite of its romantic tone and style, 
so realistic is it in purpose and content that M. Jusserand 
regards it as our first novel of manners.^* Yet, to quote Dr. 
Utter, who has analyzed it carefully, the plot although " one 
which could hardly fail of success if properly worked out" 
was left " so undeveloped as to be scarcely distinguishable 
beneath the other material under which it is burdened. We 
find all the machinery for development and analysis of char- 
acter and emotions standing idle, a complete absence of back- 
ground and sense of fact that would reflect contemporary life 
and manners with anything like specific detail."^^ As a 
matter of fact, Lyly cared nothing for his story and little for 
his characters ; his whole concern was to teach by precept and 
example the ladies and gentlemen of Elizabeth's court how to 
behave according to the latest Italian fashion. In the Arcadia 
there is a somewhat similar didactic element, in that Sidney 
was interested in the " perfect courtier." But there is a 
fundamental difference between the two; Sidney was con- 
cerned with the Platonic ideal in which details of manners, 
dress, and language are accessories, Lyly was writing a con- 
duct-book in which " manners make the man." In the prac- 
tical quality of his didacticism Lyly closely resembles Rich- 
ardson. 

It does not follow that the latter was familiar with the 
Euphues; in fact, it is unlikely, for by 1740 Lyly's work was 
almost forgotten, only one edition, and that moralized and 
abridged, being printed between 1637 and the publication of 
Pamela.'^'^ The very features which gave it such a vogue at 

*^ The Works of John Lyly. Ed. W. Bond, vol. i. 

** Jusserand, The Eng. Nov., p. 123 sq. 

*^ Robt. P. Utter, Studies in the Origin of the English Novel. Harvard 
Dissertation, 1906. Unprinted. See also, "Source of Euphues; the anat- 
omy of Wyt," by S. L. Wolff in Mod. Philol., 7, 577-85, April, 1910. 

** Jusserand, Ibid., p. 123, makes much of the 1716 edition in this connec- 
tion, but it is doubtful if it greatly influenced Richardson twenty-four years 
later. 

3 



18 

the time of its publication were of a transitory nature, for 
only so long as the behavior and conversation of Euphues and 
Philautus were fashionable was it in demand. And although 
it continued to be reprinted until the outbreak of the Civil 
War, it had ceased to be authoritative long before 1625, when 
Henrietta Maria made French etiquette supreme at the court. 
Greene,*'^ Lodge, Munday and other Elizabethans, simplified and 
condensed the material, increased the number of incidents, and 
exaggerated the striking and superficial features of the style. 
These narratives, after a brief vogue, enjoyed popular favor as 
chapbooks*^^ before dropping into oblivion. In short, the situ- 
ation parallels that of the Arcadia and the heroic romances : 
we have in embryo, characteristics and tendencies which we 
find later in the idealistic novel of manners of the eighteenth 
century, and yet there is no ground for supposing that the 
latter developed from the former. There is, however, this 
difiference between the two cases ; the novel of Richardson was 
not perfected in France and then translated, but developed in 
England, under conditions which made possible the combining 
of the realistic material of the chap-book and drama with the 
conduct book and romance tradition. 

Political and Allegorical Romances*^ 

Political and allegorical romances were popular with the 
educated throughout the seventeenth century, particularly so 
during the first sixty years, when the country was in a state 
of political and social unrest. From the point of view of the 
literary historian they are unimportant, since they mark the 
adoption of the romance form for purposes of satire and prop- 
aganda rather than any legitimate development. All the works 

" For an admirable study of Greene, see " Robert Greene and the Italian 
Renaissance," by S. L. Wolff, Englische Studien, for 1907, xxxvii. 321-74. 

"^ Pandosto by Greene (1588) was printed in 1614, 1648, 1677, 1688, 1696, 
1703; Ciceronis Amor by Greene (1596), in 1606, 1607, 161 1, 1616, 1628, 
1639; Arbasto by Greene (1584), in 1626; Rosalynde by Lodge (1590), in 
1592, 1598, 1607, 1609, 1612, 1623, 1634, 1642. 

** For more detailed discussion see Begley, Nova Solyma, ii, pp. 366-400. 
Ideal Empires and Republics (Universal Classics Library, 1901), contains the 
Utopia and Nezv Atlantis with an introduction by C. M. Andrews. 



19 

with which we are concerned in this cursory survey fall into 
one of two groups : ideal commonwealths (of which the 
" voyage imaginaire " is a variety) and allegories. 

The ideal commonwealths, with their various theories for 
benefiting mankind, belong more properly to the history of 
political theory than to that of prose fiction, since, in most 
instances, there is no plot, no love theme, no characterization, 
and little action. As the name implies, these romances, like the 
pastorals, depicted ideal conditions, but unlike the pastorals, 
were concerned with the theories of government, religion, and 
industry, which it was assumed would eliminate injustice, 
impiety, poverty, and all other evils. By depicting the happi- 
ness of people living under the proposed conditions, the authors 
sought to bring about certain reforms or to abolish abuses. 
Unfortunately, the writers too often resorted to satire and to 
minute description of vice. After the Restoration, the form 
was utilized in such compilations of scandal as Mrs. Manley's 
Memoirs of Some Persons of Both Sexes, from the Nezv 
Atalantis and Mrs. Haywood's Memoirs of an Island Adjacent 
to Utopia. 

The earliest, the best, and always the most popular ideal 
commonwealth of English authorship, is the Utopia of Sir 
Thomas More. The original Latin edition appeared in 1518,*^ 
and in 1551, Ralph Robinson turned it into the vernacular. 
The earliest imitation by an English writer seems to have been 
the Mundus Alter et Idem,^^ attributed to Joseph Hall, which, 
although entered on the Stationers' Register as early as 1605, 
did not appear until 1607. It is an inferior Latin work, 
describing in satirical vein and in the mediaeval man- 

** It was reprinted in that language, if we include the continental editions, 
at least eleven times by 1700. In 1551, it was translated into English by 
Ralph Robinson and reprinted in the vernacular three times — 1597, 1624, 
1639 — besides which it was turned into German, French, Dutch and Italian, 
provoking imitations in those countries, which in turn made their way into 
England. 

°" Mundus alter et idem sive Terra Anstralis ante hac semper incognita 
longis itineribus peregrini Academici ntiperrime lustrata. Auth. Mercurio 
Brittanico, 2 eds., Hanover and Frankfurt, 1607. There was a German 
translation in 1613. Cf. Begley, Nova Solyma, iii. 389. 



20 

ner the countries of " Crapulia," " Viraginia," " Lavernia," 
and the hke. It enjoyed considerable favor and, in 1609, 
was translated as The Discovery of a Newe World, or, a 
description of the South Indies; hitherto unknown. By an 
English Mercury. The title reflects the influence of the books 
of travel and discovery, then so numerous. Imitations were 
coarser and more satirical than the original. Psittacorum 
Regio. The Land of Parrots or the Shetlands, with a descrip- 
tion of other strange adjacent countries in the Dominions of 
the Prince de I' Amour (1669), The Travels of Don Francisco 
de Quevedo through Terra Australis Incognita, discovering the 
Laws, Customs . . . of the South Indians (1684), and The 
Island of Content; or a new Paradise discovered (1709) de- 
scribe lands of license much in the manner of Hall. Superior 
to Hall's work and more in the spirit of More, are the New 
Atlantis by Sir Francis Bacon, which was not published until 
1627, and the Commomvealth of Oceana^^ by James Harring- 
ton (1657). The former which, like most of these romances 
is in the autobiographic form, starts out almost as promisingly 
as Pilgrim's Progress, and for a little while, the narrative, with 
its exact record of the ship's adventures " after they sailed from 
Peru," holds the attention, but all too soon, it is submerged by 
the lengthy descriptions of the institutions and customs of the 
imaginary commonwealth. Together with various continua- 
tions, the New Atlantis was printed in 1660, 1670, 1676, and 
1702, and very probably suggested to Mrs. Manley the title for 
her Memoirs of some Persons of both Sexes, from the New 
Atalantis which appeared in 1709. Decidedly more diverting is 
the Man in the Moone, by Domingo Gonsales,^- which appeared 

^^ The Oceana sets forth the scheme of government Harrington and his 
party hoped to see adopted in England at the time of Cromwell's death and 
is far too practical to be regarded as a Utopia and too lacking in narrative 
interest to be classed as a romance. 

^^ I. e., Francis Godwin, Bishop of Llandafif and later of Hereford. The 
work was not published until five years after the author's death and then 
pseudonymously. In 1657, it was reprinted and again in 1768, while it sup- 
plied Bishop Wilkins with his title Discovery of a New World in the Moon, 
and Burton (Nathaniel Crouch), with much of the material for The Eng- 
lish Acquisitions of Guinea and East India (1728). (See supra, p. 4.) 



21 

in London in 1638, in 1657, and again in 1728. It contains, ac- 
cording to Begley, a good deal of picaresque material and is a 
predecessor of Robinson Crusoe in having the hero and his man 
wrecked on an uninhabited island. To this work Cyrano de 
Bergerac is indebted for some of the devices and material in 
The Comical History of the States of the Moon and the Sun, 
which romance, translated in 1687, directly influenced Defoe 
in the Consolidator (1705) and Swift in Gulliver's Travels 
(1726). The last-mentioned work far surpasses all the 
romances we have been considering in narrative skill, vivid 
description, keen characterization, and excellence of literary 
style, but it is so permeated by a satiric and unromantic 
spirit, and in the method of presentation it is so closely affiliated 
with the realistic pseudo-voyages that it can scarcely be re- 
garded as a representative ideal commonwealth. 

Gulliver's Travels^-^ belongs primarily to the province of 
satire. To quote Sir Walter Scott : " No word drops from 
Gulliver's pen in vain. Where his work ceases for a moment 
to satirize the vices of mankind in general, it becomes a stric- 
ture upon the parties, politics, and courts of Britain ; where it 
abandons that subject of censure, it presents a lively picture 
of the vices and follies of the fashionable world, or of the 
vain pursuits of philosophy, while the parts of the narrative 
which refer to the traveler's own adventures form a humor- 
ous and striking parody of the manners of old voyagers, their 
dry and minute style, and the unimportant personal incidents 
with which their journals are incumbered." Yet so skilfully 
is the satire woven into the warp and woof of the narrative, 
that it never obtrudes or hinders the action, so that, as we all 
know, children enjoy the "story" without being aware of any 
ulterior purpose. The incidents follow one another in rapid 
succession, while the minute detail, arithmetical accuracy, un- 
failing consistency, and homely comparisons with which Lilli- 
put, Brobdingnag, and to a less extent, Laputa and the Coun- 

^^* Travels into Several Remote Nations of the World. In four parts. 
By Lemuel Gulliver, first a surgeon and then a captain of several ships. 
2 vols., 1726. 

The Works of Jormthan Sivift, ed. Sir Walter Scott. 



22 

try of the Houyhnhnms, are described, make them as convin- 
cingly real as Crusoe's island. The illusion of truth thus cre- 
ated, is enhanced by the fortuitous unity of the memoir 
structure and the substantiality of Gulliver's character. The 
style, too, straight-forward, and plausibly circumstantial, as 
becomes a matter-of-fact ship's surgeon, conduces to the de- 
ception. But although the style is as plain and clear as that of 
Defoe or Bunyan, it is less simple, less colloquial, more concise 
and nervous, and enlivened by stinging sarcasm ; in a word, it is 
more literary. 

Of Swift's other works, the Tale of a TuV^^ is the only one 
that can fairly be called a narration. Like Gulliver's Travels 
it is a vehicle for satire, in this instance not so much of all 
mankind as of the three representative Christian Churches: 
Catholic, Calvinistic, and Lutheran. As a satire, it is per- 
haps unexcelled, but as a narrative it is less good. The tale 
of the three brothers is told as plausibly, as rapidly, and as 
audaciously as are the adventures of Gulliver, but the incidents 
are inherently less interesting. The style is remarkable for its 
brilliance and extravagance. Some of the best passages occur 
in the digressions which Swift inserted, much in the manner 
of Scarron and Fielding, but managed far more cleverly than 
either. The features that characterize the Tale of a Tub and 
Gulliver's Travels — the genius for narration, for seizing dra- 
matic possibilities, for keen characterization, and for descrip- 
tive phrase — are prominent in the Battle of the Books, the 
Journal to Stella, in the vivid, if not very refined. Polite Con- 
versation,^^'^ and in the many anecdotes and narrative passages 
scattered through his other works. Yet master narrator that 
he was. Swift's influence on prose fiction was not great. He 
perfected for satiric ends the various devices and sugges- 
tions he found in the mediocre productions of his pred- 
ecessors, but he contributed to his successors neither new ma- 
terial nor new devices. His imitators are to be found among 
the satirists rather than among the novelists. As Pilgrim's 

52b ^ "PQlg Qj Q fub . . . zi'ith an Account of a Battle between the Ancient 
and Modern Books in St. James's Library. London, 1704. 
^-''Polite Conversation in Three Dialogues, 1738. 



23 

Progress is to be regarded primarily as the culmination of the 
religious allegory, so Gulliver's Travels is to be regarded as 
the culmination of the satirical "voyage imaginaire," rather 
than as one of the sources of the novel. 

On the whole, writers of fiction are not very largely indebted 
to the ideal commonwealths.^^ From them, no doubt, they 
learned much of the art of matter-of-fact description, especially 
that trick, if it may be so styled, of giving the semblance of 
reality by an abundance of minute and consistent detail. To 
them, we are also indebted, in part at least, for the perfection 
of two devices which were much used about the close of the 
century ; namely, the foreign observer and the " voyage imagi- 
naire," one of which the author invariably used to account for 
his knowledge of the remarkable country. The first is the less 
common in the romances but was later exploited in satires such 
as The Turkish Spy'''^ (1698), the London Spy (1703-08), and 
Goldsmith's Citizen of the World (1760). The " voyage imagi- 
naire," with its initial shipwreck, was the ordinary opening, 
and is the basis of the Robinsoniad. 

The allegorical romances, by combining all the character- 
istics of the Greek and chivalric romances with the additional 
attraction of having some or all of the characters and episodes 
represent prominent personages, countries, or political events 
made a high bid for favor. This sort of romance was prac- 
tically invented by John Barclay^*^ in his learned Latin fiction 

" In addition there were a number of insignificant romances, such as the 
Kingdom of Macaria (1641) by Samuel Hartlib, advocating agricultural 
reforms; Olbia, a new Island (1660) by John Saddler, a cabalistic treatise; 
and the Blazing World (1668) by the Duchess of Newcastle, dealing with the 
wonders and possibilities of science. The currency of cabalistic doctrine is 
attested by a rather clever burlesque called The Count of Gabalis ; or the 
Secrets of the Cabalists, which came out in 1680 and is included in Mod. 
Nov., vol. ii. This is a translation by P. Ayres of Le Comte de Gabalis 
(Paris, 1670) by the Abbe Montfaucon de Villars. Dunlop, ii. p. 540, men- 
tions only the translation of 1714. 

"Infra, p. 106, n. 

"^ John Barclay (1528-1621), son of William Barclay of Aberdeenshire, 
was born at Pont-a-Mousson and brought up in France. In 1605, he visited 
England, where he remained ten years. For some time he lived in France, 
but his later years were passed in Rome. Under the pseudonym of Euphormio 



24 

Argenis (1621).^^ Allegory was nothing new in fiction, for it 
played a prominent part in Diana, Astree and similar 
romances. But Barclay extended it from the social life of 
some special group to the political and social life of all Europe, 
merely centering the interest upon his own country, France. 
' Some events and personages,' says the translator, ' are certain 
and easily unmasked, others are uncertain, betwixt and be- 
tween, as it were, and others are purely imaginary. Of the 
first group is Poliarchus, whom we know for certain to be 
Henry IV of France; of the second is Hyamsbe, supposed to 
be Elizabeth of England ; of the third is Argenis and the ladies 
of the Court.' 

The plot centers around the love of Poliarchus for Argenis. 
It is a typical Greek story of imprisoned princesses, ship- 
wrecked nobles, gallant pirates, and innumerable rivals. In- 
terspersed are sundry discourses, such as the " Ability of some 
Men," "A Discourse of a Theefe," "Discourse on Lawyers, 
Counselors and Advocates," a " Discourse of Madness," and 
on " Tribute and Impositions of Kings on their Subjects," as 
well as comic scenes in which the peasants play a prominent 
part. Thus we have an erotic romance of the Greek type, 
bearing an acknowledged relation to actuality and introducing, 
in the discourse on thieves and the comic scenes from low life, 
the stock material of realistic fiction. 

The vogue of the Argenis was tremendous. In England, 
with which alone we are concerned, although a Latin edition 
was entered on the Stationers' Register in 1622 and a transla- 
tion by Ben Jonson for Blount, in 1623, the earliest extant edi- 
tion is the translation by Kingesmill Long, which appeared in 

Lusinius, Barclay wrote a Petronian satire, called the Satyricon, against the 
machinations of the Jesuits. It appeared in three instalments (1603, 1605 
and 1614), the last of which, Icon Animonim, somewhat resembles the con- 
temporary rogue stories. He also wrote an Apologia for this satire, some 
Latin verses, and, later in life, controversial pamphlets in favor of the 
Catholic Church.— Cf. R. Garnett, D. N. B. 

°° The idea of the romance may have been suggested by the Cyropaedia of 
Xenophon, as it is often stated, but there is no striking likeness between the 
Argenis and the Greek work or any of the numerous political romances then 
current. 



25 

1625. Long's translation was followed by another version, that 
of Sir Robert Le Grys in 1629, and by reprints, condensations 
and continuations in 1635, 1639, 1669 and 1674. In 1772, it 
was retranslated and highly praised by Clara Reeve and as late 
as 1803, Coleridge referred to it in laudatory terms.^® In 
France, the Argenis was followed by the almost equally famous 
Endymion of Gombauld which never acquired popularity in 
England. There were a few amateurish imitations in English, 
but the heavy Latinized style deemed essential for a serious 
romance, so overwhelmed the authors that they failed to make 
clear either the plot or the allegory. Moreover, as these imita- 
tions were, in nearly all instances, written after the appearance 
of the heroic romances, the writers were further hampered by 
trying to incorporate the most prominent features of the latter. 
First to appear was the Icaria of John Bissell" in 1637, a tiny 
Latin tome concerned with religious matters and not bearing 
much similarity to the Argenis. Gloria and Narcissus by " an 
Honourable Personage " appeared in three installments, in 
1653, 1654, 1655, and as a whole, in 1661, so that there must 
have been a continued interest on the part of the public. But 
taste has changed since then, and we find the endless loves of 
Cloria, Narcissus, and their innumerable friends and enemies, 
tedious beyond endurance, and the allegory, with its possible 
references to the wanderings of Charles II, a matter for con- 
jecture. In 1659, an anonymous writer produced Panthalia, a 
Royal Romance, in which Charicles (Charles II) wins Pan- 
thalia (England) from the villain Cromwell. In 1648, 
appeared Nova Solyma, a quaint medley of romance, allegory, 
and ideal commonwealth in pedantic Latin, which was first 
translated and presented to the world as the work of John 
Milton^^ by W. Begley in 1902. 

^" Notes on Barclay's 'Argenis,'" 1803, Works, ed. Shedd, vii. 2,7^- 
" Of " John Bissel of the Jesuits," little is known. In addition to the 
Icaria he wrote, also in Latin, an account of the Jesuit missionaries under 
the title Argonauticon Amcricanorum sive Historic Periculorum Petri de 
Victoria, 1647. 

^ In " Nova Solyma ; a romance attributed to John Milton," in Mod. 
Philol. for April, 1904, i. 525, Dr. W. A. Neilson refutes Mr. Begley's argu- 
ments in detail and discusses the romance at some length. 



26 

The Flozuer of Fidelitie (1650) by John Reynolds^'* harks 
back in style to the Euphues and the Arcadia, but suggests even 
more, to compare small things with great, the Faerie Queene. 
Three princes wander through the deserts and forests of Africa 
in search of adventure, and finally, after rescuing many dis- 
tressed damsels, overcoming many monsters, and withstanding 
the temptations of the bower of bliss, win three incomparable 
princesses and return to their homes, where they live right- 
eously and rule wisely for many years. The Flozver was 
reprinted several times but never enjoyed the popularity of the 
author's God's Revenge against Murder, a collection of tragic 
tales which Gildon groups with Pilgrim's Progress and 
Robinson Crusoe among the possessions of " every old woman." 

The Aretina (1660) of Sir George Mackenzie is a much 
closer copy of the Argenis. The author, in a rather diverting 
preface, apologized for romances on the well-known plea that 
the story was but a means for inculcating moral precepts, " the 
sugar coating of the pill." This led him to an examination of 
the romances of his day which, in his opinion, failed, either, 
because, like the old romances of Amadis and Palmeryn they 
were "stuffed with things impracticable," or because, like the 
later works of Scudery, they were written in a "too soaring 
style." Both of these faults Mackenzie promised to avoid, 
but the reader will find the combats, the tourneys, the travels, 
and the loves of Monanthropus, Megistus, Ophni, and Aretina 
as improbable and bewildering as those of Amadis or 
Polexandre, and the style no nearer simplicity. The brief 

^John Resmolds, who flourished between 1620 and 1640, travelled exten- 
sively in France. In 1621 he published the first part of The Triumphs of 
God's Revenge against the crying and execrable sinne of {Wilfull and Pre- 
meditated) Murther, a collection of tales translated from the French, and in 
1635 issued the complete six parts comprising "thirty tragicall histories," in 
which form it was often reprinted. The Flower of Fidelitie, which he first 
published in 1650, is generally described as an Arcadian imitation, but I 
imagine Reynolds in this, as in his other works, was drawing from French 
sources. It was later called The Garden of Love and Royal Flowers of 
Fidelity, under which title the fourth edition appeared in 1692 and the 
seventh in 172 1. He also translated A Treatise of the Court from the French 
of E. de Refuge, and The Judgement of Humane Actions from the French 
of L, de Marande. Cf. D. N. B. 



27 

tales or novels which Mackenzie, in imitation of the Argenis, 
interspersed through his romances, while not possessing much 
originality or merit, are the most interesting portions of /ir^fuza. 
The allegory is difficult to trace, but in one of the numerous 
essays which the author " laced upon his romance," he ex- 
plained that it referred to the relations between England and 
Scotland. Bentivolio and Urania, a religious romance by 
Nathaniel Ingelo, also appeared in 1660. It was reprinted in 
1668, 1673, and 1684, the last time with a much needed gloss 
for recondite words and phrases. The mention of religious 
allegories at once suggests Pilgrim's Progress, but this is to be 
associated with the chapbooks and homilies and not with the 
literary romances. 

On the whole, the political and allegorical romances, with the 
exception of the Utopia, the Nezv Atlantis, Gulliver's Travels, 
and the Argenis, have no literary value, and the last possesses 
little vital interest. Neverthless, as a class they were not with- 
out an influence on later fiction. In the first place, they made 
the element of actuality important, for unless the relation to 
contemporary manners and conditions was clear, the allegory 
and the satire lost all point, and in the second place, they were 
instrumental in the perfecting of two important devices, the 
" voyage imaginaire " and the foreign observer. 

The Heroic Romances"" 

All the romances of the seventeenth century are commonly 
styled " heroic," but speaking more strictly, the term should be 
confined to those narratives informed with the " heroic temper," 
that is to say, those in which the characters and events are 
idealized on a large scale, or, to quote Dryden, " the images and 
action are raised above the life.""^ The most perfect examples 
are the well-known works of La Calprenede and the Scuderys, 

™ For further discussion see : P. H. Koerting, Geschichte des Franzosichen 
Romans im XVII Jahrhundert, A. Le Breton, Le Roman au dix-septieme 
Steele, Thos. F. Crane, Les Heros de Roman. Introduction, La Societe 
Frangaise du dix-septieme siecle, and M. F. von Waldberg, Der empfind- 
same Roman in Frankreich. 

^ J. Dryden, Essay on Heroic Flays, ed. W. P. Ker, i. 48. 



28 

which afford the best means of studying the type. Any de- 
tailed account of the origin of the heroic romances or any 
analysis of particular works is unnecessary, but a slight knowl- 
edge of their history is practically essential for a proper 
understanding of their characteristics and of their significance 
in the development of the modern novel. 

According to Professor Koerting, the heroic romance passed 
through three stages. The foundation was the Astree (c. 
1610-1627) of Honore d'Urfe written somewhat after the 
manner of Montemayor, and combining, like Diana, elements 
from the Greek, chivalric and pastoral romances, ideals of 
conduct derived from Castiglione, and a more or less vague 
allegory of the social life at court. It somewhat resembles the 
Arcadia, but has a larger pastoral element and is more 
elaborate and carefully wrought."^ Then came Gomberville's 
Polexandre (1637), which Professor Koerting regards as the 
first genuine heroic romance. Gomberville rejected most of 
the pastoral material and much of the delicate sentiment, sub- 
stituting in their stead wanderings in strange countries and a 
spirit of braggadocio. He followed the Greek structure and 
utilized its devices, but otherwise his romance, with its hero 
of virtu struggling for love and glory, is in the manner and 
spirit of Amadis. The second and final step in the perfecting 
of the genre was taken by La Calprenede, who combined all 
the features of the courtly Astree with the heroic adventures 
of Polexandre, and utilized as a setting, the glamour-covered 
ages of classical and mediaeval antiquity. His Cassandra 
(c. 1647), Cleopdtre (c. 1648), and Pharaniond (c. 1658), 
Koerting ranks as the most perfect examples of the heroic 
romance. With the works of the Scuderys began the period 
of decadence. The Grand Cyrus (c. 1649), Almahide (c. 
1652), and Clelie (c. 1656) dififer little from the romances of 
La Calprenede, but the over-refinement of sentiment and style, 
the far-fetched political allusions, the long interspersed essays, 
and the close representations of the salons of the precieuses, 
under the thin veil of romance, made them an easy subject for 
ridicule. 

•-The Astree combines practically all the elements in the different types of 
narratives. Cf. Reynier, Le Roman Sentimental avant L' Astree, p. 150 sq. 



29 

With the actual content of the romances — the pseudo-history, 
the episodes, the actual personages concealed under the feigned 
names — we are not concerned, since we are regarding them 
solely with respect to the English development. From this 
point of view, there are five important features : first, the recog- 
nition of the romance as a dignified literary form with classical 
models from which rules could be drawn ; second, the deriva- 
tion from those models of certain canons, some of which have 
influenced fiction to the present day; third, the creation of a 
type of hero and heroine which, with slight modifications, is 
with us still ; fourth, the predominance given to sentiment ; and 
fifth and last, the emphasis laid upon a pure, moral story as 
well as on a didactic purpose. Each of these requires a word 
of explanation. 

The new respect with which romances were regarded was 
due partly to the prevailing taste for prose fiction, partly to 
the social and literary prestige of the authors and of the Hotel 
de Rambouillet, under the auspices of which the heroic ro- 
mances were written, and partly to the esteem accorded to the 
Greek romances, as works of the " ancients." D'Urfe, La Cal- 
prenede and Mile, de Scudery*'^ all consciously patterned their 
romances after Heliodorus, whom they regarded in much the 
same light as the playwrights regarded Seneca. And much 
as the dramatists, both consciously and unconsciously, 
utilized the indigenous material, the writers of prose narratives 
incorporated elements from the chivalric stories and the ro- 
mantic epics. Be it noted in this connection, that little dis- 
tinction was drawn between prose and poetry, a fact which ac- 
counts for much extravagance. Bishop Huet*'* regarded the 

'^" J'ai pris et je prendray toujours pours mes uniques modelles Timortel 
Heliodore et le Grand Urfey. Ce sont les seuls maistres que j'imite et les 
seuls qu'il faut imiter." Mile, de Scudery, Introduction to Cyrus. 

" Heliodore I'a surpasse dans la disposition du sujet, comme en tout le 
reste." Huet, L'Origine des Romans, p. 380. 

** Huet, L'Origine des Romans, p. 348, " Ce que Ton appelle proprement 
romans, sont des histoires feintes d'aventures amoureuses, ecrites en prose 
avec art, pour le plaisir et I'instruction des lecteurs. Je dis des histoires 
feintes, pour les distinguer des histoires veritables. J'ajoute d'aventures 
amoureuses, parceque I'amour doit etre le principal suJet du roman. Tl faut 



30 

use of prose or poetry as a matter of fashion. '' Heywood.""^ 
in translating Biondi's Eromena, writes of " Heliodorian 
poesie " ; Dryden, in discussing the heroic plays which were 
based on the French romances, discusses the laws of an " heroic 
poem"; and the Pharonnida, an epic poem by Chamberlayne, 
was turned into prose under the title Eromena or the Noble 
Stranger (1683). The distinction between prose and verse 
narrative was not made until the rise of the realistic story at 
the end of the century, and in fact the confusion lasted down to 
the time of Scott. 

From the Greek romances, as has been said, were derived 
the canons according to which the later works were constructed. 
They are admirably stated by Bishop Huet. First, he laid 
down the law, which has since become an axiom, that " love is 
the principal subject of romance"; second, that the "history" 
must be feigned, not real, a rule to which little attention was 
paid by realists of the next generation, but which was later 
accepted; third, that the purpose is to teach the principles of 
right living by rewarding virtue and punishing vice; and 
fourth, that the presentation of the fable must follow certain 
rules. These rules merely summed up the Greek method for 
attaining surprise, suspense, etc., and fell into oblivion with 
the heroic romances. 

The most important deviation from the Greek romances was 
in the matter of the hero and heroine. The passive Greek 
hero, devoted solely to love, did not conform to the Western 
ideal, and on the other hand, the chivalric hero was devoted too 
exclusively to military fame ; so a compromise was effected by 

qu'elles soient ecrites en prose, pour etre conformes a I'usage de ce siecle ; 
il faut qu'elles soient ecrites avec art et sous de certaines regies, autrement 
ce sera un amas confus, sans ordre et sans beaute. La fin principale des 
tomans, ou du moins celle qui le doit etre, et que se doivent proposer ceux 
qui les composent, est I'instruction des lecteurs, a qui il faut toujours faire 
voir la vertu couronnee et le vice puni " (page 348). 

" Les remans, au contraire, ont I'amour pour sujet principal et ne traitent 
la politique et la guerre que par incident. Je parle des romans reguliers ; 
car la pluspart des vieux romans . . . sont bien moins amoureux que mili- 
taires," p. 350. 

^^ See bibliography under Eromena, 1632. 



31 

making love and ambition two master-passions. In all proba- 
bility, the hero was evolved from the Courtier of Castiglione, 
for it needed but a theatrical setting to make a " Cyrus " of 
that paragon. The heroine presents the companion picture of 
the " great lady," charming all with her wit, her beauty, and her 
" becoming attire." She does little, but being sensitive to a 
degree, suffers much, and enjoys nothing more than describing 
her* every emotion. A drop in the social scale, and we have the 
insipid parlor heroes and tearful heroines of the eighteenth 
century. 

The presence of realism and sentiment in the heroic romances 
is often overlooked, because the language in which it is ex- 
pressed is so affected, and the point of view so intellectual. As 
a matter of fact, there are many subtle bits of characterization, 
numerous examples of sound psychology, and sympathetic, as 
well as minute, analyses of passion. The long " portraits " 
were drawn from the life and immediately recognized by con- 
temporaries.^® We find the hysterical outbursts, the tears, the 
self-pity, the love of melancholy, and the cult of solitude which 
we associate with the sentimentalism of Rousseau,®^ but always 
with this difference, that in the romances, conduct, if not the 
heart, is invariably controlled by the head. No matter what 
the emergency, you may depend upon the hero to show a 
judgment " natural and proper," and the heroine never to sin 
against the social code. The inculcation of virtue and pro- 
priety was, in these French romances as in the Richardsonian 
novels, a primary object with the authors. In this emphasis 
upon the moral purpose there is nothing essentially new — Lyly, 
Nash and the later Italian novelists, for example, had stressed 
the didactic element — but a certain significance is derived 
from the fact that during the reign of Restoration license, these 
romances not only asserted that " virtue is rewarded and vice 
punished," but were themselves pure in thought and phrase.^^ 

^ Cf. V, Cousin, La Societc frangaise au XVIJc siecle. 

" Cf. Waldberg, Der empfindsame Roman in Frankreich. 

** Mrs. Barker in the introduction to Exilius (171 5), and again in the 
Lining of the Patchwork-Screen (1725), makes much of the edifying fea- 
tures of the romances. See infra, p. 144 sq. 



32 

Such were the celebrated heroic romances which made their 
way into England during the Protectorate and were at the 
height of fashion, to judge by the translations, during the 
reign of Charles II. They were, in all probability, well-known 
before the English versions appeared, for the aristocracy, to 
whom these romances appealed, were as familiar with French 
as with English, and furthermore, the country gentry and 
circles like those of the " matchless Orinda " and the Duchess 
of Newcastle, prided themselves upon reading the original.*''' 
The translations were of two sorts; literary exercises by noble 
aspirants for fame, and redactions made for the bourgeoisie 
by publishers' hacks and indigent "persons of quality." In 
both cases the text was often condensed. According to M. 
Charlanne, Polexandre was reduced by three books, and the 
prefaces and epistles in which La Calprenede and Mile, de 
Scudery aired their theories were ruthlessly cut out, so that 
in the words of the same authority, the story stood " bare and 
dry without ornament of any kind."^" The style, too, was 
often so execrable that Dorothy Osborne's scathing criticism^^ 
was quite justified. 

" I have no patience neither, for these translations of romances. I met with 
Polexander and L'illustre Bassa both so disguised that I, who am their old 
acquaintance, hardly knew them ; besides that, they are still so much French 
in words and phrases that 'twas impossible for one that understands not 
French to make anything of them. If poor Prazimene be in the same dress, 
I would not see her for the world. ... Is it not my Lord Monmouth or some 
such formidable person that gives her to the world? " 

Poor as they were, however, the translations were widely 
read. To William Browne belongs the honor of first intro- 
ducing these romances into English with his version of Gom- 
berville's Polexandre in 1647. Five years elapsed before any 
further translations appeared, then in 1652, came Loveday's 
version of the first part of CUopatre under the title of Hymen's 
Praelitdia, or Love's Masterpiece, parts two to seven came 

^' Cf. Charlanne, L'Influence Frangaise en Angleterre au XVIIe Siecle, 
and Upham, The French Influence in English Literature. 

''" Charlanne, Ibid., p. 380. 

''^Letters from Dorothy Osborne to Sir William Temple, ed. E. A. Parry, 
London, 1888, pp. 160-61. 



33 

out the ensuing year, but parts seven and eight not till 1658, 
the three remaining parts not till 1665, and the whole was 
not printed together till 1671. In 1652, there also appeared 
translations of Ibrahim and of Cassander, King of Macedon, 
elegantly rendered into English by an Honourable Personage, 
of which a better known version, by Sir Charles Cotterel, the 
friend of the "matchless Orinda," is dated 1661. ArtOh 
mene, or Le Grand Cyrus followed in 1653, and we find it 
advertised in the Term Catalogues for 1691. Three years later, 
in 1656, appeared Cleila, a Historic Romance rendered by 
Davies and Havers. In 1660, was printed Pierre de Hortigue's 
Scipion, and in 1677, John Phillips, Milton's nephew, per- 
formed the feat of translating both the Almahide and Phara- 
mond. In addition to these long romances, there were heroic 
conversations and harangues of which the most famous are 
those of Mile. Scudery;^^ and short romances, which on the 
score of their brevity, were often styled " novels." Such, for 
example, are Fatal Prudence, or, Democrates, the Unfortunate 
Hero (1679), Meroveus, Son of Chilperic I. (1682), and 
Ildegerte, Queen of Norzvay (1721). The last two are de- 
cidedly above the average in the conception of the plot and in 
the delineation of character. The women are remarkably 
strong, and, although possessing none of the Greek heroines' 
subtlety of intellect, are the leaders in council and in action. 

Numerous imitations were to be expected, and it is there- 
fore surprising that not more than half a dozen English 
romances can be so classed : Eromena, or. The Noble Stranger, 
founded on Chamberlayne's Pharonnida (1683) ; Cloria and 
Narcissus (1633-54-55-61); Parthenissa (1654-69); Pan- 
fhalia (1659); Birinthia (1664); Aretina (1661); Pandion 
and Amphigenia (1665); Celenia (1723). Of these, Cloria, 
Panthalia, and Aretina are political allegories as well, and have 
been discussed under that category ; while Pandion, not being 
markedly " heroic," belongs rather with the miscellaneous 
romances. Of the remaining works, Parthenissa alone attained 

"^ Triumphant Arch, erected and consecrated to the Glory of the Femi' 
nine Sex, translated by " J. B.," 1654, and The Female Orator, or the Courage 
and Constancy of Women, trs. 171 3. 
4 



34 

any celebrity, a success due more to the prominence of the 
author, Roger Boyle, better known as Lord Broghill, than to 
the merits of the romance. The curious who would like to 
know more in detail the content and structure of these folio 
romances with which noble ladies whiled away their long 
leisure hours, will find a full summary of Parthenissa in Ap- 
pendix A. As for criticism, we can do no better than to quote 
that of Boyle's contemporary, Dorothy Osborne." 

" 'Tis handsome language; you would know it to be writ by a person of 
good quality though you were not told it ; but, on the whole I am not much 
taken with it. All the stories have too near a resemblance with those of 
other romances, there is nothing new or ' suprenent ' in them ; the ladies are 
all so kind they make no sport. . . . Another fault I find, too, in the style — 
'tis affected. ' Ambitioned ' is a great word with him, and ' ignore ' ; my 
' concern,' or ' of great concern ', it seems is properer than concernment ; 
and though he makes his people say handsome things to one another, yet 
they are not easy and ' naive ' like the French, and there is a little harsh- 
ness in most of the discourse that one would take to be a fault of a 
translator rather than of an author. But perhaps I like it the worse for 
having a piece of the ' Cyrus ' by me that I am hugely pleased with." 

Eromena is less heroic and in many ways is closely modelled 
on the French erotic romances, yet there is a deliberate attempt 
to " raise the characters above the life," and to expound royal- 
ist doctrines. The plot of the Spartan lord searching for 
Eromena is interspersed with much irrelevant matter concern- 
ing the Turks and Christians and is hidden in a mass of intri- 
cate diction. The language is very figurative, and at its best, 
as in the description of the heroine's passions as lying " at 
anchor in the safe haven of serene thoughts," '^* not without 
charm; but more often it is strained, as in "Rivers of tears 
fell from her fair eyes " f^ " Truth and Innocence smelt sweet 

''^Letters from Dorothy Osborne to Sir William Temple, ed, E. A. Parry, 
p. 228. 

She also asks if it is true " that Waller is writing a romance concerning 
the Civil Wars, and Lord Saye a something ! " No such works are known. 
Monmouth translated (1641-46) Biondi's History of the English Civil Wars, 
i. e.. Wars of the Roses. Possibly rumor confused this with a romance con- 
templated by Waller. 

''* Eromena ; or, the Noble Stranger, London, 1683, p. 50. 

" Ibid., p. 60. 



35 

and grateful in the nostrils of aW" f^ "her prayers and 
shrieks fill all the ambient air." "^ 

Birinthea is open to even more stringent censure. Although 
shorter than Parthenissa, the loves of Cyraeres, Cyrus, and 
Birinthea with the interwoven story of Arspe and Panthea, 
are, if anything, even more bewildering than those of Boyle's 
characters. With the opening statement that " if the night 
had not come and surprised them the battle had not been so 
soon ended," the reader is plunged " in medias res " and is 
whirled through innumerable battles, duels, shipwrecks, and 
kidnappings, without discovering what it is all about. Celenia 
is a very inferior piece of work. The characters are still 
ostensibly on the heroic scale, but their motives are less pure, 
their ambition less worthy, and the general tone vulgar — it is 
decidedly the heroic romance in its decadence. Like Par- 
thenissa and Eromena, it is interspersed with long discourses 
on government and references to current politics. The pres- 
ence of allegory and allusions to contemporary persons and 
events is highly probable in all these romances, for it was a 
striking feature of the French models. Moreover, Boyle in 
his dedication to Lady Northumberland, gives us to under- 
stand that Parthenissa resembles his patroness in so far as 
his " feeble pen could portray her beauties." But on the 
other hand, there is no contemporary evidence that personal 
allusions were intended in any instance, and in the case of 
Parthenissa this is the more remarkable, since Dorothy 
Osborne, who discussed the romance at length and knew by 
reputation at least, the society which Boyle frequented, did 
not so much as hint at such a thing. 

The influence of the heroic romances cannot be measured 
merely by the translations and imitations. They were the 
inspiration of those literary coteries'^ that surrounded the 
Duchess of Newcastle and Mrs. Katherine Philips. The mem- 
bers, assuming romantic names with a classical ring, exercised 

" Ibid., p. 34. 
" Ibid., p. 28. 

" Cf. Upham, The French Influence in English Literature, p. 333 sq., and 
Gosse, Seventeenth Century Studies, p. 206 sq. 



36 

their wits in exchanging elegant epistles in the manner of the 
"matchless Orinda" and Poharchus (Sir Charles Cotterel). 
Mrs. Philips herself contributed nothing to prose narrative, but 
undoubtedly it was under her stimulating influence that Cotte- 
rel and Davies made their translations, and that Boyle wrote 
Parthenissa. The Duchess of Newcastle, on the other hand, 
reflects their influence directly, since, to quote Pepys, "the 
whole story of this lady is a romance and all she does is 
romantic." Her narratives however, with the exception of 
The Bladng World, are not romances, so discussion of them 
will be postponed.'^^ 

Many plays were founded on episodes in the romances: 
Dryden's Conquest of Grenada was taken from Almahide, 
Bower's Cyrus the Great from the romance of that name, and 
Mrs. Behn's The Young King from Cleopatra. References 
to the romances abound in essays and diaries. Addison, in his 
list of books in " Leonora's Library "^° mentions : " Cassandra, 
Cleopatra, Astraea, the Grand Cyrus, with a pin stuck in one 
of the middle pages, and Clelia which opened of itself in the 
place that describes two lovers in a bower." Dorothy Osborne 
has been quoted sufficiently to show how much she enjoyed, 
and withal, how keenly she criticized the romances. Mrs. 
Pepys was also partial to them, and from her husband we 
learn that " she sat up till twelve reading Great Cyrus "^i 
and that on another occasion she was greatly troubled by his 
checking her " In her long stories out of Grand Cyrus, which 
she would tell, though nothing to the point nor in any good 
manner."^^ And finally, as late as 1752, they were sufficiently 
popular to give point to Charlotte Lennox's satire, the Female 
Quixote. 

Thus for nearly a hundred years the long French romances 
of La Calprenede and Mile, de Scudery were an important 
factor in English fiction. Much of the minute analysis of 
passion, of the conventional didacticism, of the detailed descrip- 

''^ Infra, p. 128 sq. 

^Spectator, No 37; see also Steele, The Tender Husband, 1705. 
^^ Diary of Samuel Pepys, Globe ed., London, 1905, p. 59, entry for Dec. 7, 
1660; p. 381, entry for May 12, 1666. 



37 

tion of manners and dress, of the reflective sentimentalism, and 
of the compHcated structure so prominent in the works of the 
eighteenth century, can be traced directly to the heroic ro- 
mances, " so unreal, so tedious, so patiently wrought."^^ 

Miscellaneous Romances 

In addition to the romances we have been considering, there 
were a large number of short miscellaneous narratives, dealing 
with material more or less romantic, in a romantic spirit. 
Some of these were no more than elaborations of episodes in 
the longer works or modernizations of romantic novelle, but 
others differed materially. In the earlier years, the sixteenth 
century pastorals, such as the Diana of Montemayor, the 
Faithful Shepherd of Guarini, the Galatea of Cervantes, and 
The Pastorals of Julietta^^ of Ollenix du Mont-Sacre, enjoyed 
a mild vogue. They were superseded by short romances in 
which episodes from Moorish history or wild adventure among 
the " Moslems " played the most important part. The 
Moors very early figured in Spanish narratives, but a 
keener interest was aroused by the romantic History of the 
Civil Wars of Granada^* which supplied many new incidents 
and much information about the customs of Moorish life. 
Writers of fiction were not slow to perceive the picturesque 
value of the Moorish setting, and we find Mile, de Scudery 
substituting, in Almahide, the Conquest of Granada for the 
wars of classical antiquity. Of the numerous short works 
dealing with this and other material, it will suffice to mention 
a few suggestive titles chosen from a list numbering nearly 
one hundred. Closely modelled after the Greek pattern are 

*" W. Raleigh, The English Novel, 1894, P- 105. 

^^ Les Bergeries de Juliette, 1585-1598, was translated in 1607 as The Pas- 
toralles of Julietta by Gervase Markham, and again as Honour's Academy by 
Robert Tofte in 1610. The latter is said to bear small resemblance to the 
original. Cf. Upham, French Literature in England, p. 367. 

^ Historia de las Guerras Civiles de Granada, presumably the work of 
Gines Perez de Hita (c. 1604), free versions of which appeared in France 
early in the seventeenth century. 



38 

Persiles and Sigismunda by Cervantes, Ariana^'^ by Desmarets 
de Saint-Sorlin, an interesting attempt to set a story in the 
time of Nero, and the cumbersome Dianea^^ of Loredano. Of 
those in which the " Moslems " play a prominent role may be 
mentioned The Liberal Lover,^'' by Cervantes, The Happy 
Slave, by Gabriel de Bremond,^^ The Chaste Seraglian, and 
Ibraham Bassa of Buda. 

A series of three romances^^ by the Italian Biondi combine 
a little of this picturesque element with the more salient fea- 
tures of such sentimental romances as Arnalte and Lucenda, 
and at the same time reflect the growing tendency to weight 
the narrative with sermons and political theory. To how 
large an extent the feigned personages and didactic purpose 
had come to be regarded as essential features of the Greek 
romances, may be inferred from the translator's reference to 
" Heliodorian poesie " as " that historical way of poetizing or 
poetical way of historizing or displaying in the fained seeming, 

^ For a full summary and discussion of Ariana see the Preface to Les 
Heros de Roman, ed. T. F. Crane, Athenaeum Press, 1907. It was translated 
in 1634. 

''Translated in 1654 by Sir Aston Cokain. 

^ This was first translated in 1640. 

** Gabriel de Bremond occupies such an insignificant place in French liter- 
ature that little attention has been devoted to him. While still a youth he 
was forced to seek refuge in Holland and there remained for the rest of 
his life. His numerous works date between 1676 and 1708. Hattige, 
appeared in 1676, Le Galant escroc ou le Faux Comte Brian in 1677, Apolo- 
gie ou les Vcritables Memoires de Madame Marie de Mancini in 1678, 
Memoirs galants ou les Aventures Amoureuses d'une Personne de Qualite 
in 1680, and a version of Guzman d'Alfarache in 1695. The Double Cocu 
and the Heureiix Esclave ou les Aventures du Sieur de la Martiniere 1708, 
are attributed to him. Grand Dictionnaire Universel du xix siecle, La- 
rousse. According to the English translations, The Pilgrim and the Per- 
plexed Prince, are by Bremond. 

^^ Eromena: or Love and Revenge, Donsella Desterrada, or the Banished 
Virgin, Coralbo, a new romance in three hooks, translated in 1632, 1635 and 
1655 respectively by (according to Fry) "Jasper Heywood." According to 
Thompson Cooper, D. N. B,, Jasper Heywood died in 1598. It follows that 
the Jasper Heywood of literary repute could not have translated the ro- 
mances, and it seems wiser to identify the " J. H." on the title-page with 
the James Howard to whom Howell wrote a letter on his translation of 
Eromena, Oct. 6, 1632, see Familiar Letters, ed. I. Jacobs, I., 329. 



39 

unfained adventures and action . . . embellished more fre- 
quently with ethicall solidity than superficial rhetorick." 

The English with few exceptions confined themselves to 
translations, or rather redactions, for in many cases they 
showed considerable originality in deviating from their texts. 
Decidedly the most delightful variation is the satirical or 
burlesque version of Voiture's Alcidalis and Zelide under the 
title Zelinde, an excellent new romance,^^ which a certain 
"T.D." claimed to have translated "from the French of M. 
Scudery." Such life and vigor has this little piece that M. 
Jusserand calls it an original anti-romance. Voiture's plot 
was most ingenious in its extravagance, and " T.D." rendered 
it in a style worthy of the matter, and further spiced it with 
critical asides. Thus, for instance, he describes the rage of 
the cheated duke : 

" He beat his head against the ground, tore his hair, and uprooted his 
comely beard ! Let me not lye neither, perhaps beards were as much out 
of fashion then as now, and I would not have posterity imposed upon in 
matters of such weight ; truth will go through the world."" 

And again, in calling upon his readers at the close of the 
volume to conjure up the joy of the united lovers, he exclaims : 

" Gentle Reader (I may safely call you so now, for I am sure you are 
tired as well as I).'"^ 

Unfortunately, there were no other " T.D.'s " translating 
romances. Peter Belon, B. Berenclow, Ferrand Spence and the 
host of vague " Persons of Quality " were as free from satir- 
ical humor as the authors could desire. 

A half dozen English romances of this type deserve a word 
of comment, less on account of their worth than of their rarity. 
Probably others have been lost, for there are entries in the 
Term Catalogues which suggest this kind of romance. The 
plots are extravagant, the characters are absolutely colorless, 
the descriptions ludicrously artificial, the emotional outbursts 

^Contained in Mod. Nov., vol. vii. Is " T. D." Thomas Durfey? A 
literal translation is contained in a Collection of Select Discourses, 1687. 
"P. II. 
'="?. 126. 



40 

rhetorical, and the style, the most ornate and fantastic imagin- 
able. 

The Cyprian Academy (1647), ^Y Robert Baron dedicated 
to " the Super-eminent Paragon of Art and Literature, the 
truly noble James Howell "^^ is very short, the three books and 
the masques at the close of each being comprised within one 
hundred octavo pages. The loves of Flaminius and Clarinda 
and of Arabella and Lycidas have their prototypes in such 
French romances as Pandion y Yonice (1599) and I'Histoire 
des Amours de Poliphile et de Damis (1602).®* Pandion and 
Amphigenia; or the Coy Lady of Thessaly (1666) by John 
Crowne is longer and shows traces of the heroic element, but 
is indebted to the Arcadia for its " chief beauties." In the 
diverting preface Crowne, like all the fashionable young 
writers, informs us that this " trifling product of an idle hour " 
is indeed " a hospital for lame conceits," but on the other hand 
he assures us " it is no jay trickt up in others feathers nor pop- 
injay to parrate others wit." But, alas, scarcely is there an 
incident or effective passage that cannot be traced to another 
source! The Eliana of John Pordage (1661), judging from 
the remarks of Dunlop,^^ is a similar piece of fiction. 

In all three romances the style is the most striking feature, 
and probably the greatest pleasure of the readers was derived 
from the elegance of the diction and the subtlety of the con- 
ceits. A person was not killed, but " was sent to fetch an 
errand in the dust," did not die, but " acted his life's epilogue." 
It was difficult to maintain the pitch of elegance attained by 
Crowne in the following quotation, but how ludicrous the 
effect could be when the author permitted himself to mingle his 
affected phraseology with colloquial directness is illustrated in 
the ensuing one from The Cyprian Academy. 

^ Robert Baron, famous, or infamous for his plagiarisms, was born c. 1630. 
He was a student at Cambridge and Gray's Inn. In 1647 he published 
' EpoToiraLyvLov: or the Cyprian Academy, and c. 1650, Pocula Castalia, 
in verse. He was also author of Mirsa: a tragedy ; Gripus et Hegio, and 
Deorum Dona. Cf. Joseph Knight, D. N. B. 

** For an account of these French romances see Le Roman Sentimental 
avant L'Astree by Gustave Reynier, particularly pp. 188 to 198. 

°* Dunlop, History of Prose Fiction, ii. 563. 



41 

" And further he craved of her, that since it was not her pleasure so much 
as to imparadise his form in her thoughts (for her eyes were something cast 
aside upon the wall, showing a lofty kind of humility) but to make an 
inanimate creature the object of his envy, that yet she would permit his 
lips as Pilgrims from his heart to sacrifice the pure oblations of his love 
upon her hand, that pure shrine of pureness, and there to inscribe its 
image, that the beauties of her hand might challenge remembrance from her 
thoughts, of the humblest of her servants, and the most passionately devoted 
to her princely vertues." 

" Flaminius saluted him [the knight carrying off the unwilling lady] 
with this challenge. It sufficeth not that thou hast subdued yonder Petitoes 
of Mars, and captivated their Lady, Fortune will not sell her at so under 
a rate, it remaineth that you vanquish me also before you enjoy her, the 
wager of our contention, in whose defense my sword (blushing at thy 
impieties) shall strike thy soul to Erebus, and compell thee to garter thy 
hose with thy gutts. The strange Knight coyned this proud reply to this 
unexpected defy ; I conceive it no hard taske to chastise thy insolency, for 
I take thee for no other than a body animated by a Pythagorean Transmi- 
gration, with one of those cowardly souls which I have even now sent to 
seek new lodgings." 

The four other romances we have to consider are products 
of a later period and reflect the taste for the Spanish setting 
and comphcated intrigue. In Diana, Duchess of Mantua, or 
the Persecuted Lover (1678), R. Carleton reverted to the 
sentimental romance of the sixteenth century, but unfortu- 
nately he adopted the Chinese box system of narration, w^hich 
makes it impossible to disentangle the story of Diana and 
Frederick. There are some remarkably good comic scenes, 
modelled no doubt after those in the Argenis. The peasant's 
account of the murder of the lady v^^hom he found " as dead 
as a red herring " is in its simple diction, coarse similes and 
loquacious repetition, very realistic, and contrasts sharply with 
the rest of the romance. In Taxila, or Love preferred before 
Duty (1692) by " W. D., Gent.," the not unusual theme of a 
persecuted princess refusing the favorite son of her step- 
mother for a poor courtier is given an oriental setting. 

Much more interesting than either Diana or Taxila is 
Cynthia; with the Tragical Loves of Almerin and Desdemona, 
advertised in the Term Catalogues for May, 1687, as " Done 
by an English Hand." Evidently it long remained in favor. 
The undated edition in the Bodleian is called the " eighth," 



42 

and in the late eighteenth century a New England publisher 
passed it off as an original American production. '''' The 
Heliodorian story of " Cynthia " is quite subordinated to that 
of Almerin and Desdemona which is told by Almeryn to 
Cynthia and her lover, whom he has carried off in one of his 
piratical expeditions. His story resembles in many ways the 
Spanish tales of the " cloak and sword " order, especially The 
Liberal Lover of Cervantes. The plot is the usual one of love 
contrary to the commands of parents, the desertion of the 
hero and the consequent suicide of the heroine. The use of 
portents is an interesting feature. For example, the following 
passage immediately precedes the discovery of the clandestine 
attachment which resulted in the hero's imprisonment and 
his consequent desertion of the heroine. 

" In my way homeward my spirits began to grow dull and heavy, my 
mind became sad and melancholy, I found myself fearful, yet knew no 
cause I had to fear. On the sudden three drops of blood distilled from my 
nose, a hare thwarted my way, and a night-raven came croaking and with 
her dismal note hovered over my head. This confirmed me in my augury 
that something ominous and fatal did attend me." 

The Entertaining History of the Amours and Adventures of 
Solenus andPerrigonia, the first story in The Constant Lover s,^"^ 
by John Littleton Costeker belongs to the eighteenth century. 
Perrigonia was brought up by her man-hating father on a 
desert shore and kept in complete ignorance. When she was 
about sixteen her father brought home a poor youth whom he 
intended to kill the ensuing day. Perrigonia took pity on the 
victim and eloped with him that very night. Shortly there- 
after she was separated from her lover and trouble began, for 

" The Bodleian edition is probably an eighteenth century reprint, for the 
title-page is typical of that century: Cynthia; with the Tragical Account of 
the Unfortunate Loves of Almerin and Desdemona. A Novel. Illustrated 
with a Variety of the Chances of Fortune: moralized with many useful 
Observations. Done by an English hand. 

The American edition, of 1798, is mentioned by Miss L. D. Loshe in 
The Early American Novel, New York, 1907, p. 17, n. 

" The Constant Lovers ; being an entertaining history of the amours and 
adventures of Solenus and Perrigonia, Alexis and Sylvia, By John Littleton 
Costeker. London, 1731. 



43 

to poor Perrigonia, who had " never seen mortal other than 
her father and lover," all cavaliers looked alike, and she be- 
came involved with numberless admirers. All sorts of diffi- 
culties arose from her general state of ignorance and " inno- 
cence." This very curious little romance was probably intended 
to satirize the current views of the charms and advantages of 
the " state of nature." 

In 1680, romances were no longer fashionable, yet for years 
inferior works of this general type were written. Such 
eighteenth century writers as Mrs. Rowe, Mrs. Barker, and 
even Mrs. Haywood, took occasion to praise the purity of 
the purpose and ideals of the romances as opposed to the 
lewd novels of their own day. Mrs. Barker, in her endeavor 
to restore the romance to its old prestige, herself contributed 
several mediocre examples.^^ But the day of the affected 
court romances had passed — the new generation demanded not 
less sentimentalism or romanticism, but a closer reproduction 
of actuality. 

The " Anti-romances " 

The " anti-romances " form a large and heterogeneous 
group, which for purposes of discussion, it seems wise to limit, 
somewhat arbitrarily, to those narratives animated by a con- 
sciously anti-idealistic and anti-romantic spirit, thus excluding 
that large group of narratives which though essentially real- 
istic are not satires of the romantic form or spirit. Of the 
anti-romances, as here defined, there are three clearly differ- 
entiated types : the comic romance, in which the serious 
romance is burlesqued by representing the idealist clashing 
with the stern facts of actuality; the picaresque miscellany,^^ 
in which the hero, or rather anti-hero, is a rogue in service 
and the theme his various rogueries ; and finally, miscellaneous 
satires. "" 

'^^ Infra, p. 145. 

°' Cf. F. W. Chandler, The Literature of Roguery and Romances of 
Roguery, Pt. i, " The Picaresque Novel in Spain." These two works treat 
the whole matter so exhaustively that the present writer has merely sought 
to show the relation of the rogue story to the novel of manners and senti- 
ment. 



44 

To the first of these groups, the comic romances, belongs 
the celebrated Don Quixote^^^ of Cervantes, upon which all 
succeeding romances of the type were more or less closely 
modelled. That delightful work is too well-known to require 
comment, but in passing, we may note that its rambling struc- 
ture and the introduction of totally irrelevant stories were 
the features most easily imitated. The popularity of Don 
Quixote was immediate, and as great in France and England 
as in Spain. It was left for France alone, however, to pro- 
duce worthy successors. Sorel in Le Berger Extravagant 
(1628), and more particularly in Polyandre (1648), dropped 
the pure burlesque, and presented with much grossness, types 
and episodes which he had observed among the lower classes. 
Furetiere in Le Roman Bourgeois (1666), and Scarron in 
Le Roman Comique (1651), showed the possibilities of 
bourgeois material; and finally Lesage, following the Histoire 
Comique de Francion (1622), of Sorel, combined the comic 
romance and picaresque miscellany in his inimitable Gil Bias 
(1715-35). In addition to these notable works, there were 
many inferior burlesques, such as the lively Bussy-Rabutin's 
L' Histoire Amoureuse des Gaiiles (1665), and Perdou de la 
Subligny's La Fausse Clclie (1670). Practically all the 
French productions were translated into English: — The Ex- 
travagant Shepherd, in 1654; Francion in 1655; The Comical 
Romance in 1670; The Mock Clelia in 1678; and the Gargan- 
tna of Rabelais"^ in 1653, but none of them rivalled the Don 
Quixote in popularity. Cervantes's masterpiece, or rather the 
first part of it, was translated by Shelton in 161 2, the second 
part was added in 1615, and a complete edition printed in 1620. 
A new version was made by J. Phillips in 1687, and throughout 
the century there were reprints, abridgments and chapbooks. 

Popular as statistics would indicate the comic romance to 
have been, English authors were not stimulated to compete, — 
perhaps the very abundance of the foreign narratives checked 

^'^ El ingenioso hidalgo Don Quixote de la Mancha, Pt. i. Madrid, 1605. 
Pt. ii, 1615. Avellaneda's continuation appeared in 1614. 

^"^ For a discussion of Rabelais in England, see Upham, The French 
Influence in English Literature, Ch. v, p. 219 sq. It contains a full account 
of the translations up to 1660. 



45 

orginal endeavor. Whatever the cause, the fact remains that 
there are but three very inferior EngHsh specimens, — Don 
Juan Lamherto (i 649-1662), which has been discussed with 
the chivalric romances ; Wit and Fancy in a Maze by S. Hol- 
land (1656),^°- and The Essex Champion, or the Famous His- 
tory of Sir Belley of Bellerecay and his Squire Ricardo (c. 
1685). The immediate influence of the comic romances on 
English creative art is to be found in the drama, in the satires, 
and indirectly, in the tone of the short realistic tales or 
" novels," but their really great influence was first exerted in 
the eighteenth century, when Fielding, Smollett, and lesser 
writers infused the material drawn from the romances, the 
new novel of manners, and the narratives of roguery and ad- 
venture, with the robust and wholesome, if somewhat coarse, 
humor of Cervantes, Scarron, and Lesage. 

On the whole, even less influential were the romances of 
roguery or picaresque miscellanies, which form the second 
group of anti-romances. " As conceived in Spain and ma- 
tured in France, the picaresque novel is the comic biography 
(or more often autobiography) of an anti-hero who makes his 
way in the world through the service of masters, satirizing 
their personal faults, as well as their trades and professions. 
It therefore possesses two poles of interest — one, the rogue and 
his tricks ; the other, the manners he pillories."^*^^ In Eliza- 
bethan literature, this type of fiction reached a considerable 
degree of perfection, as is attested by Nash's Unfortunate 
Traveller; or, the Life of Jacke Wilton (1598), Breton's Mis- 
eries of Mauillia, the most unfortunate Ladie that ever lived^^^^ 
(1599), Chettle's Pierce Plainnes seaven Yeres Prentiship 
(i595)> ^"d such allied forms of rogue literature as the tracts 
of Greene and Dekker. Yet it was not long before the native 
works were completely superseded by the continental : — La 

"-Later reprinted as Romancio-Mastix in 1660, and still later as The 
Spaniard ; or Don Zara del Foga, translated from the Spanish by Basilius 
Musophilus in 171 9. 

"' Chandler, Literature of Roguery, i. 5. 

'"'" No. 4 of The Wil of Wit, Wit's Will or Wil's Wit, Chnse you 
Whether. Compiled by Nicholas Breton, Gentleman, 1599. Reprinted 
in 1606 and ed. by J. O. Halliwell-Phillipps in i860. 



46 

Vida dc Lasarillo de Tonnes was translated in 1 568-9 andl 
reprinted at least twenty times by 1740; La Desordenada 
Codicia de los Bienes Agenos appeared in 1638, as The Sonne 
of the Rogue, or Politick Theefe; Guzman de Alfarache, 
first printed in English in 1622, went through fully a 
dozen editions in our period. During the years from 1610, 
the date of Dekker's O per se O, to 1700, there were only 
three or four English contributions : The English Rogue by 
Head and Kirkman, an inferior rifacimento of all the tales 
of trickery current at its date of publication (1665); Kirk- 
man's Unlucky Citizen Experimentally Described (1673), 
which differs from the norm in substituting a poor tradesman 
for the rogue in service; Teague O'Divelly; or the Irish Rogue 
(1690), a cheap tract; and The Dutch Rogue, or Guzman of 
Amsterdam (1683), a wretched copy of the Spanish and pos- 
sibly a translation. Picaresque material appeared in many 
of the novels of intrigue, such as Mrs. Behn's Fair Jilt, in 
the disgusting memoirs of noble rakes/°* as for example, in 
such translations as Gallant Memoirs, Count Brian, Adven- 
tures of a Man of Honour, and finally, in reformative tracts 
and narratives of a popular nature, of which the best example 
is Bunyan's Life and Death of Mr. Badman. The form, but 
not the matter of the picaresque is utilized in a curious little 
work. The Compleat Mendicant (1699) which recounts the 
adventures of " an unfortunate gentleman " as a student at 
Oxford, as a follower of a divine, as a teacher and as a 
shepherd. The detail, the illusion of actuality, the insistence 
on the literal truth of the events described, the earnestness 
and common-sense morality have led the compilers of the 
British Museum Catalogue, following earlier bibliographers, 
to attribute it to Defoe, but such authorities as Lee, Aitken, 
and Professor Trent have rejected it. Whether or not Defoe 
was the author is of little moment for the Compleat Mendicant 
had no imitators, although, curiously enough, it was reprinted 
in Dublin a generation later. To quote Professor Chandler 
once more : " The romance of roguery languished, to be revived 
only in the second decade of the eighteenth century by two 

^'^ Infra, Chapter II. 



47 

forces. One was the naturalism and character-drawing of 
Defoe; the other was the literary inspiration of Lesage.""^ 
Yet Defoe cannot be classed with writers of picaresque ro- 
mances, for his narratives of roguery were developed from 
the popular criminal biographies rather than from the Spanish 
literary form, and differ from the latter not only in structure 
and in emphasizing character instead of incident, but in being 
quite free from the cynical anti-idealistic spirit. 

The remaining anti-romances, which constitute the third 
group, are of no distinct genre, but are narrative satires of 
many varieties. As has already been stated, there were a few 
imitations of the Satyricon of Petronius, such as the Euplior- 
mio of Barclay, and the Pantaleonis Vaticinia of John Hume, 
but these rare Latin works, accessible only to the learned, were 
uninfluential. More important are the descriptions in which 
a place, institution, person, or custom is caricatured in a lively, 
ironical, and almost invariably scandalous manner. Such for 
example were The Academy of Love, describing ye Folly of 
Younge Men and ye Fallacy of Women (1641), a Petronian 
satire of the cult of Platonic Love; The Ramble ;'^°^ The 
Adventures of Covent Garden in imitation of Scarron's ' City 
Romance'^^'^ (1699); the graphic Amusements Serious and 
Comical Calculated for the Meridian of London^^^ (1700); 
Comical Viezvs of London and Westminster (1705) ; The Mall 
(1709); Description of Epsom in a Letter to Eudoxid^^^^ 
(1711), all ostensibly in the manner of Scarron; a Comical 
Description of a Nunnery (1700), doubtless provoked by the 

^"'^ Literature of Roguery, i. 229 ; ii. 284. 

"* Chandler, The Literature of Roguery, ii. 150, gives the date as 1651, 
and attributes it to George Fidge, author of an account of a criminal 
named Hind, under the title of the English Guzman. In the B. M. Cata- 
logue it is listed as anonymous and the date given as 1730. 

"' The author really followed Furetiere's Roman Bourgeois. 

108 gy -j-Qjj^ Brown and reprinted with his Collected Works in 1707-08, 
1715, 1719-20, 1727, 1744, 1760. The Amusements are really a free and 
lively translation of Dufresny's Amusements, in which London has been 
substituted for Paris, Brown's " Indian " describes the people he meets 
and the resorts he frequents almost as vividly as Defoe, but his grossness 
and savage satire are most repellant. 

i"^'' By John Toland. 



48 

Letters of a Portugese Nun; and the journalistic London Spy 
(1703-09), by Ned Ward. Besides these descriptive narratives 
there were character-sketches like the Drudge, or, the Jealous 
Extravagant (1672); The Extravagant Poet (1682); The 
Reformer exposing the Vices of the Age in Several Charac- 
ters (1700); culminating in "The Rake," the "Pedant," and 
"The Coquette" of Spectator fame. Finally, there were proph- 
ecies and visions usually more or less political in nature, such as 
The Man in the Moon telling Strange Fortunes to the English 
People (1609), and The Highland Prophecy (1712). The 
only example of this class which has any claim to literary 
merit, or which attained enough popularity to be influential, 
is the Spanish Visions and discourses, concerning abuses, vices 
and deceits in all offices and estates of the world by Ouevedo y 
Villegas^^^ which, first translated into English by L'Estrange 
in 1667, ran through twelve reprints by 1745, besides being 
burlesqued in verse (1702), and in the Neiv Quevedo, or, 
Visions of Charon's Passengers (1702). 

This brings us to the end of our survey of the anti-romances, 
though by no means all of the works have been mentioned. 
Nevertheless, the content, spirit, and structure of the different 
types are sufficiently apparent to enable us to judge of their 
contribution to the development of the novel of manners. 
The comic romances, as we have seen, provoked no worthy 
imitation before Fielding; the picaresque miscellany as a dis- 
tinct genre died out except in sporadic instances ; the various 
satires died a natural death or were merged with other contrib- 
utory forms. The great contribution of the anti-romances, 
then, was not so much actual material or structure, as the train- 
ing of readers and writers of all classes to appreciate the 
humorous or comic view of life, the cultivating of a taste for 
robust animalism as opposed to the etherial sentimentalism 
of the romances, the revealing of the possibilities of low life 
and bourgeois material, the realistic depiction of a definite, con- 

^''^ Suenos y Discotirsos de verdades descubridoras de Abusos, Vicios y 
Engaiios en todos los Oficios, y Estados del Mundo (1627), by Quevedo 
y Villegas. The author's Buscon was translated in 1657 and by Capt. John 
Stevens in 1707. 



' 49 

Crete background, and the developing of a vigorous, colloquial 
style for purposes of narration, although not as yet for the ex- 
pression of emotion. The anti-romantic fiction, in its reaction 
from the idealistic, reflective, and subjective romances, became 
too cynical, too gross, and too objective. The novel of man- 
ners lies between the two extremes, and already there were 
signs of its development. In the Compleat Mendicant there is 
a reaction against indecency and immorality and a recognition 
of the ordinary good man as a possible hero. And, on the 
other hand, realism is creeping into the romances, in the shape 
of "portraits," allegory, and allusions to contemporary events. 



CHAPTER II 

THE NOVEL 

(160O-1700) 

The novel as the term was used in the seventeenth century 
signified merely " a short tale, generally of love,"^ and was 
applied to all narratives which seemed short in comparison with 
the folio romances.^ In the collection of Modern Novels^ 
published in 1692, fully one fourth of the stories are romances, 
one. The Emperour and the Empire Betrayed, is a political tract, 
another. Instructions to a Young Nobleman, is a manual of 
behavior, while nearly one half the last volume is occupied with 
the Dialogues of the Dead. Thus, were we to accept a defini- 
tion of the " novel " based on the loose usage of the seventeenth 
century, we should have to consider, in addition to many di- 
verse types of fiction, much extraneous material. Although 
there was no generally recognized limitation to the use of the 
term 'novel,' there were several sporadic attempts to distin- 
guish between the novel and other forms of prose narrative. 
Congreve made a unique effort to differentiate between the 
novel and the romance in the introduction to his Incognita. 

" Romances are generally composed of the constant Loves and invincible 
Courages of Hero's and Heroines, Kings and Queens, Mortals of the first 
Rank, and so forth : where lofty Language miraculous Contingencies and 
impossible Performances, elevate and surprise the Reader into a giddy 
Delight, which leaves him flat upon the Ground, whenever he gives off, 
and vexes him to think how he has suffer'd himself to be pleased and trans- 
ported, concern'd and afflicted at the several Passages he has read. . . . 

^ S. Johnson, Dictionary of the English Language. Reprint of 1773. An 
interesting discussion of some of these novelettes from the point of view 
of the evolution of the short story is to be found in H. S. Canby's The 
Short Story, 111., vii. 11 7-1 77. 

" Cf. R. Steele, The Tender Husband, Sc. 2, Act IV., "though our amours 
can't furnish out a romance they'll make a pretty novel." 

* See Bibliography, under " Collections." 

50 



51 

Novels are of a more familiar nature ; come near to us and represent to 
us Intrigues in practice, delight us with Accidents and odd events but not 
such as are wholly unusual or unpresidented, such as not being so distant 
from our Belief bring also the pleasure nearer us. Romances give more of 
Wonder, Novels more Delight. And with reverence be it spoken and the 
Parallel kept at due Distance, there is something of equality in the Propor- 
tion which they bear in reference to one another, with that between Comedy 
and Tragedy." 

On the other hand, the distinction between the novel, a ficti- 
tious narrative, and the history, an authentic chronicle, while 
nowhere clearly expressed, was generally recognized. The col- 
lected works of Mrs. Behn and Mrs. Haywood, for instance, 
are divided on this basis into " novels and histories," and such 
titles as The Amours of Philario and Olinda, or The Tntreagues 
of Windsor. A Genuine History, are common. At the same 
time, purely fictitious tales were called " histories," and in some 
instances both terms were employed on one title page, as The 
History of the Loves of Lysander and Sabina: a Novel. 
Neither of these distinctions can be considered satisfactory, 
and, as some limitation is necessary for convenience and con- 
ciseness in discussion, we shall arbitrarily confine our attention 
to those narratives of a fictitious nature in which the realistic 
element predominates. This leaves for our consideration ap- 
proximately one hundred novels of which less than a quarter 
are native works and fully two thirds translations or adapta- 
tions from the French. 

During the first fifty years of the century the Italian novelle 
of Boccaccio, Bandello, Cinthio, and their French imitations by 
Belleforest and Margaret of Navarre were practically dis- 
placed by the long sentimental romances. In fact, brief tales, 
if we exclude the short romances and the novelle interspersed 
through the longer works, were printed only about a dozen 
times between 1600 and 1660.'* During the later years of 

* The Decameron was reprinted three times (1620, 1625, 1655-57); The 
Exemplary Novels of Cervantes in various combinations appeared in 1638 
and 1640; the Heptameron of Margaret of Navarre in 1654; Machiavelli's 
The Divell a Married Man in 1647, and a seemingly original production, 
Triana, or a Threefold Romansa, in 1654 and again in 1664. There were 
also, two quaint and vulgar English collections. The Tink^ of Turvey, 
reprinted in 1608 and 1630, and Westward for Smelts, in 1620. The former 
first appeared in 1590, the latter probably goes back to 1603. 



52 

the century, on the contrary, there was a great demand for 
short reahstic narratives, and we find EHzabethan versions and 
contemporary modernizations of the Itahan tales filling second 
class collections, such as A Choice Bcunqiiet of witty jests, rare 
fancies, and pleasant novels (1665), The Delightful Novels 
(1686), The Banquet for Gentlemen and Ladies (second edi- 
iton, 1703), The Pozver of Love in Seven Novels (1720) by 
Mrs. Manley, the Winter Evening Tales (1723), and Wit in 
all Shapes (1734), in which deceived husbands, seduced heir- 
esses, cheating gallants, and miserly uncles figure largely in 
plots too coarse to permit discussion. The directness and 
rapidity of the narratives may be gathered from the following 
speech made by a nameless heroine to a passing hero who 
happened to rescue her from death at the hands of her wicked 
uncle. 

" Sir, I never inquired whether you was married or no, nor was it a 
question ever in my thoughts before ; if you are not and will accept of my 
person with the Fortune that attends it, I hope to be happy in your em- 
braces." He accepted. 

These however, differed widely from the fashionable novels 
of the seventeenth century. The Italian novelle were in prac- 
tically all instances the point of departure, but the Spanish and 
French writers wrought fundamental changes before the brief 
tale was revived in England. The first novels to regain 
popular favor were, naturally enough, the romantic Spanish 
tales, many of which, indeed, hover on the borderland of pure 
romance. 

Novels of The Cloak and Sword 

Stories of crossed loves and struggles between love and duty 
were favorite themes with the Spanish. A much used formula 
was that of the constant loves of two young persons, betrothed 
under compulsion to others and upon the discovery of their 
clandestine attachment summarily separated and most harshly 
treated. Endings differed; the lovers might successfully elope, 
or they might both be killed in the attempt, or the hero might 
yield to his hard-hearted guardians and the heroine die of 



53 

grief, and so on. Almost equally popular was the combination 
of the seduction and crossed love motifs in which the deserted 
girl pursued her recreant lover. The difference between the 
Italian and Spanish novels is, however, not so much a matter of 
plot as of treatment, for whatever the plot, the latter all possess 
the many incidents, surprises, duels, mistaken identities, and 
picturesque settings, which characterize the drama of the Cloak 
and Sword. The most artistically perfect stories are to be 
found among the Exemplary Novels of Cervantes — The Tzvo 
Damsels, The Force of Blood, The Little Gypsy, The Spanish- 
English Lady — but they are by no means the most typical, for 
they are much shorter than the average and almost unique in 
utilizing the every day life of the working classes as a setting 
for romantic and aristocratic love tales. Such rather picar- 
esque novels as The Loving Revenge, or Wit in a IVoman;*^ 
The Lucky Escape, or the Jilt Detected; The Witty Extrava- 
gant, or, The Fortunate Lover, and the French imitations of 
the Spanish, such as The Pilgrim by the prolific Bremond and 
the Spanish Histories of the Countess D'Aulnoy are perhaps 
more nearly representative. The Exemplary Novels were very 
popular in England. They were translated as a whole by 
Mabbe in 1640 and reprinted in 1694, 1708 and 1728. Indi- 
vidual tales, frequently without any acknowledgment of the 
author and under a different title, appeared much oftener in 
collections such as Four Tragicomical Histories of our Late 
Times, i. e.. The Force of Blood, The SpanisJv-English Lady, 
The Lady Cornelia and the Tzvo Damsels (1638), The Annals 
of Love (1672), and The Spanish Decameron (1687). 

English stories of this nature are few in number and poor 
in quality. Triana; or, a Threefold Romanza of Mariana, 
Paduana, and Sabina made its appearance anonymously in 1654, 
but in a reprint of 1664 it is attributed to Thomas Fuller. 
Mariana and Paduana are conventional stories of intrigue with 
romantic accessories and a picturesque Spanish setting. 
Sabina^ has the more unusual theme of a wife brought to 

*" This is a translation of " El Amor en la venganga " from Tardes Entre- 
tenidas (1625) of Alonso de Castillo Solorzano, author of La Garduna. 

^ Sabina was induced by her husband's implicit confidence in her virtue 
to confess to him her amour with the wicked Niclokaya. That disappointed 



54 

repentance by a kind and virtuous husband. The intrigue, 
however, does not center about that interesting point, but about 
the just punishment of her wicked lover. 

Less moral and more consciously wrought is The Playc/s 
Tragedy, or, Fatal Love, a nezv Novel (1693), by an anony- 
mous, and presumably juvenile, writer. The author, after 
stressing the dignity and worth of players as a fit subject, 
explains that " 'Tis the fatal end of their amours, not their 
lives that I here pretend to attempt in this novel, having 
furnished myself with the best information I could get, to 
render it perfect and satisfactory. ... I do not tell the head 
and original of the heroine. I propose only one great action as 
my aim." After such a clear preface and deliberate acceptance 
of the laws of the pseudo-classic tragedy the ensuing medley of 
crossed loves is disappointing." The author was interested 
not in the intrigue, but in the character of Montano, and much 
of the clumsiness of the story results from his endeavors to 
enable the reader to enter into the hero's emotions and 
thoughts. The vacillating Montano is strongly reminiscent of 
Hamlet but the monologues and the chorus go back to Greek 
tragedy. Poor as it is, The Player's Tragedy is an interesting 
precursor of the subjective character study. 

lover resolved to get revenge, and to that end purchased the assistance of 
the Abbot. Through the connivance of the latter, Sabina was seized Et the 
confessional and thrown into the deep abbey cellar to die of starvation. 
Several days later she was found in a dying condition by a neighbor (who 
happened to be excavating at that end of the Abbey), and carefully nursed 
back to life. The precaution was taken, however, to keep the matter abso- 
lutely secret. In the meantime, the villains took every means to fasten the 
crime of murdering the woman upon her husband. Finally, they brought 
the matter to court and would surely have won their case if they had not 
been suddenly confronted by Sabina, and upon the strength of her story, 
themselves convicted and punished. 

' Bracilla, wife of Montano, a soldier, loved and was loved by the actor 
Monfredo. Montano, though loved by Caelia, remained loyal to Bracilla. 
Greatly perturbed by the discovery of his wife's amour, racked by divers 
passions, all of which he disclosed in sententious periods to a couple of old 
men, who replied with lengthy moralizations, he finally killed his rival and 
fled. And thus the story ends, leaving the reader to imagine what finally 
became of Bracilla, Montano, Cselia and the long suffering wife of Monfredo. 



55 

The Brothers: or Treachery Punished. Interspersed with 
the Adventures of Don Alvarez, Don Lorenzo and . . . 
Mariana, by "a Person o£ Quality" bears the date 1730, but 
probably belongs to a much earlier period. It resembles such 
fifteenth century romances as Arnalte and Lucenda' in having 
the stories told in a gloomy cavern under the auspices of a 
mysterious and melancholy stranger. 

Historical Novels 

A romantic glamour also attached itself to the historical 
novels. These the French novelists elaborated from the brief 
Italian accounts of historic and pseudo-historic episodes of a 
more or less scandalous character by introducing Spanish in- 
trigue, precieuse discourse, Parisian manners, and now and 
again, a vague intimation that contemporaries might be dis- 
covered under the mask of historic names. In the majority 
of the thirty and more historical novels translated into 
English, historical personages are the center of the action, but 
in a few rare instances the history serves as a setting for the 
love story of more or less imaginary characters. The Princess 
of Clevcs immediately comes to mind, but this little masterpiece 
by Madame de La Fayette is too well-known to require com- 
ment and too superior to be regarded as in any way typical. 
Although it was translated, reprinted once or twice, and crudely 
dramatized by Lee,^ its careful psychological analysis, high 
moral tone, idealism, and emotional restraint, appealed neither 
to the readers nor to the writers of the Restoration. Most of 
the historical novels were no more than elaborations of cele- 
brated incidents and familiar traditions involving illustrious 
characters of the past, and more particularly of the two or three 

^ The original Spanish version, Tractado de amoves de Arnalte e Liicenda 
enderescado a las damas de la reyna nuestra setiora by Diego Hernandez de 
San P(i)edro appeared in 1491. An English version of the Italian transla- 
tion was made as early as 1575 by Claudius Hollyband. In 1608, it was 
re-translated and published with an Italian text by C. Desainbrensis in The 
Italian School-Maister. It was reprinted, without the Italian, in 1660 as 
Arnaldo, the Injured Lover. For a discussion of the romance and its influ- 
ence see Reynier, Le Roman Sentimental avant I'Astree, p. 66 sq. 

^ The Princess of Cleve, by Nathaniel Lee, 1689. 



56 

centuries immediately preceding. Sometimes, however, epi- 
sodes were fabricated to explain an obscure point or throw new 
light on a particular character or episode.^ A fairly accurate 
idea of the range, method, and spirit of this type of fiction may 
be gathered from a few specimens dealing with English 
subjects. 

Most amusing are two stories having for their theme the 
flirtations of Queen Elizabeth with Essex,^^ Leicester and num- 
erous other courtiers. On the whole, they were hostile to the 
English heroine, not hesitating to call her a heretic, a usurper, 
and an agent of Anti-christ. Most damaging of all to the 
Queen's character is the Duke of Alangon which represents her 
as the murderer of her half-sister, the unacknowledged daugh- 
ter of Catharine of Arragon. 

According to this tale, Alengon was the Queen's real favorite, and him 
she had determined to marry, when by a deliberate blunder on the part of 
the jealous Leicester, she discovered the Duke's passion for her ill-treated 
half-sister. The wily Elizabeth dissembled her chagrin, pretended repent- 
ance for her former behavior, and, as an earnest of greater good to come, 
made her sister a present of a pair of gloves, which she had carefully 
poisoned. The unsuspecting Marianne at once tried them on, and within a 
few hours had fallen a victim to Elizabeth's perfidy, but not before she had 
acquainted her lover with the cause of her death. The Queen thus got 
rid of her rival, but she did not attain her end, for the heart-broken Duke 
" reflecting on the dangers ensuing from so perfidious a character," speedily 
returned to his native land. 

' The theory of the matter is clearly put by the " Person of Honour " 
who compiled or translated the Annals of Love (1672), a series of very 
brief stories drawn from Spanish, English, and French history. 

" When the history of Spain tells me a sovreign Countess of Castile fol- 
lowed a poor Pilgrim into France, I cannot imagine things could run so 
high in a moment ; they must see one another, they must meet, and discourse, 
before she could come to so strange a resolution. I have augmented the 
history therefore with several enterviews and amorous dialogues of mine 
own ; if they are not what they really spake, they are at least what they 
might." 

^^ The Earl of Essex and Queen Elizabeth, 1650. Reprinted in 1680 and 
contained in Mod. Nov., vol. i. The Duke of Alangon and Queen Elizabeth, 
Mod. Nov., vol. i. 



57 

Less lively is a narrative dealing with an earlier period in 
English history, The Amours of Edward IV.^^ which purports 
to be an account given by the Queen-Mother to her daughter. 
Curiously enough it makes no reference to the celebrated Jane 
Shore. A more extraordinary production is Mack-BetJi^- 
(1708), which by making license the ruling passion of the hero, 
of his villainous wife, and of all their associates, reduces the 
old legend to a series of gross intrigues. In The English Prin- 
cess, or the Dutchess Queen (1678), we have a Restoration 
version of the story Mr. Major has familiarized to us in When 
Knighthood Was in Flozuer,^* and the two afford an enlighten- 
ing contrast. In both the interest centers around the love 
affairs of Mary and Brandon,i^ but in the former these are 
complicated by the gross amours of Henry, Dorset, Suffolk and 
other courtiers, and there is no attempt as in the later version 
to idealize the characters or to elaborate a picturesque setting. 
In short, there was no desire in this, or, for that matter, in any 
of the novels dealing with historical personages, to escape from 
the present to a glamour-covered past; on the contrary, it was 
an attempt to explain the past in the terms of contemporary 
society. 

The English produced only one work of this type, but many 
of the translations are so elaborated and re-worked that they 
bear little resemblance to the originals. The " Person of 
Honour " who translated Don Heneriques de Castro,^^ a series 

" The Amours of Edward IV. An Historical Novel. By the Author of 
the Turkish Spy, 1700. There is no evidence, to my knowledge, to indicate 
that Marana, Midgley, Dr. Manley, or any person whose name is connected 
with the Turkish Spy, c. 1698, was concerned with the narrative, so that 
it may be a publisher's advertisement or, again, may be by Bradshaw or 
some other hack-writer in Midgley's employ. 

^ Hypolitus, Earl of Douglas, containing some Memoirs of the Court of 
Scotland with the Secret-History of Mack-Beth. Translated from the 
French of M. C. de La Mothe, Countess d'Aulnoy. 

" When Knighthood Was in Flower, by Edwin Caskoden (pseud. Charles 
Major). Indianapolis, 1896. 

'^ This same Brandon is the hero of the story in Boyle's English Adven- 
tures (1676). 

^^ Don Heneriques de Castro; or, the Conquest of the Indies. A Spanish 
Novel. Translated out of the Spanish by a Person of Honour, London, 
1685. In Mod. Nov., vol. i. 



68 

of interwoven love stories in which the scene shifts from 
Europe to America, and which makes love, instead of lust of 
gold, the incentive for the wholesale butchery of the Indians 
during the conquest of Peru, stated very frankly in his preface 
that he had greatly improved the novel, " by combining two of 
the characters, continuing the story after the sacrifice of the 
Indians, cutting down the details concerning the Italian wars, 
and adding from other sources new incidents." Such a re- 
vised translation almost deserves to be classed as an indepen- 
dent production. English Adventures (1676) by a "Person 
of Honour," generally supposed to be Roger Boyle, Lord 
Broghill, is a very interesting example of the way in which the 
Restoration mingled past and present, romance and cynical 
realism, pastoral and court intrigue. The story opens with the 
death of Henry VII. The new king upon the pretense of 
retiring to mourn in solitude, escapes from court incognito, to 
go hunting with his favorite Howard. The scene shifts im- 
mediately to the hunt, which gives Boyle an opportunity to de- 
scribe " Aurora and the beauties of her train." A passerby, 
Brandon by name, hearing the baying of the hounds, turns 
into the woods to join the party. As he hesitates which way to 
ride, he sees a young couple sauntering along in true Arcadian 
fashion and so engrossed in one another that they are unaware 
of the approach of a huge stag. Brandon's shouts awaken 
them to their danger, whereupon the lady faints and her 
cowardly escort flees. Brandon rushes to the lady's side, and 
at the same time Henry comes forward from the opposite 
direction. The fair Isabella has scarcely recovered conscious- 
ness when Howard appears and offers his good offices. All 
three men promptly fall in love with the incomparable beauty, 
and their relations become so strained that Brandon, who per- 
ceives himself outclassed, tells the history of his life to divert 
their minds and keep the peace. This proves to be precisely the 
story of Otway's Orphan^'' (1680). Isabella then tells how she 
came to be wandering in the woods with the cowardly Good- 

" Roden Noel, editor of the Mermaid edition of Otway, states that the 
same story, or a similar one, forms the basis of an earlier play, The Hog 
Hath Lost His Pearl (i 612-13), by Robert Tailor. 



59 

win, to whom she has been affianced by her father. Here there 
is another break in the story, Isabella is married to the craven 
Goodwin, and the interest shifts to the intrigues of Howard and 
Henry with her. The King wins her affections, and to show 
his implicit faith both in her and in his rival, appoints 
Howard her guardian. The latter by over-assiduous watching, 
angers Isabella, who in exasperation pretends to be in love with 
a page. Henry being informed of this amour very nearly ruins 
Isabella, but she saves herself by the common romance device 
of proving the youth to be a girl who has assumed that dis- 
guise, in the hope of winning the affection of Howard. 

Veiled Histories, Pseudo-Journals, Etc. 

The transition from scandal of the past to scandal of the 
present was both natural and easy. Instead of writing directly 
like the old Italians or our reporters, writers took shelter 
behind feigned names, veiled histories, pseudo-memoirs and 
the like. Least common are tales of romantic intrigue in 
which the characters are given " feigned names." The best 
representaitive is A Tragi-comical History of Our Ozvn Times 
under the Borrowed Names of Lisander and Calista trans- 
lated from the French of Vital D'Audiger by a " W. D." in 
1627, and twice reprinted and partly retranslated by 1652. 

The secret histories are of many varieties. Some were 
purely political, as, for example. An Historical Romance of 
the Wars betzveen the mighty Giant G. and the Great Knight 
Nasonius (i. e., Louis XIV and WilHam HI), Others com- 
bined politics, romance, and gossip in the manner of the 
Perplex'd Prince, in which the King (Charles II) is depicted 
as induced by his villainous brother (the Duke of York) to 
deny the legitimacy of his son (the Duke of Monmouth). 
Still others, such as the popular pseudo-letters of The Turkish 
Spy^^ (1698), were discursive compilations of political and 
social news. More notorious than these were the collections 
of scandalous town gossip with a political animus, such as 
The Secret History of Queen Zarah and the Zarazians (1705),^" 

^^ Infra, p, io6, n. 

" Attributed to Mrs. Manley. 



60 

Mrs. Manley's The Secret Memoirs and Manners of several 
Persons of both sexes from the Neiv Atalantis (1709), Me- 
moirs of Europe at the close of the eighth century. Written 
by Egenhardus, secretary and favorite to Charlemagne (1710), 
and Mrs. Haywood's Memoirs of an Island Adjacent to Utopia 
(1725). In the New Atalantis, Astrea and deserted Virtue, 
make a tour of the island under the guidance of Intelligence, 
i. e. Scandal, who points out notable persons and recounts the 
more important episodes in their lives. Sigismund II is 
Charles II; the Prince of Tameran, James II; Jeanatin, 
Mrs. Jennings; the Marquis of Caria, the Duke of Marlbor- 
ough, and so on. In Mrs. Haywood's Utopia, a stranger nar- 
rates his experiences while viewing the island under the guid- 
ance of Cupid, who incidentally gives him much information 
about the social relations of the inhabitants both collectively 
and individually. Many of the stories are similar to the 
worst of the Italian novelle, and it is highly probable that much 
of the indecent scandal of the period was made up out of 
those old tales. 

During the latter half of the seventeenth century no form 
of literature was more popular than the gossipy biographical 
narrative, whether it took the form of autobiography, biog- 
raphy, journal-book, or memoir.^^^ Howell, Loveday, Digby, 
the Duke of Wharton, the Duchess of Newcastle and dozens 
of others, recounted their experiences with the minutest detail 
and an apparent endeavor to present the literal truth. Every 
prominent prince, adventurer, general, pirate, and rogue had 
his life chronicled. Count Tekli, Count D'Aubusson, Don 
Carlos, Casimir, King of Poland, Captain Jones, Captain Hind 
and Pirate Avery, were all made the heroes of sensational nar- 
ratives. Even in the most authentic of these works there was 
bound to be an element of fiction, and in the majority " truth 
was to advantage dressed " and facts modified to conform 
more closely to romance. Sir Kenelm Digby,-° for example, 

"" Cf. A. R. Burr, The Autobiography, A Critical and Comparative Study, 
1909, esp. pp. 157-171, and Appendix B. 

'"'Private Memoirs, c. 1627. Quoted by Upham, French Influence in 
English Literature, pp. 369-70. 



61 

deliberately wrought his courtship of Venetia Stanley into the 
form of the fashionable romances, and the account of the 
Life and . . . Piracies . . . of Captain Avery, both in the 
anonymous 1700 version and the 1719 amplification by Defoe, 
is practically wholly fabulous.^^ In such narrations as Casimer, 
King of Poland, great liberties were taken and many episodes 
interpolated by the narrator. The translators in the same spirit 
rendered their texts very freely and sometimes, as in the case 
of the Memoirs of the Life and Adventures of Signor Roselli,-^ 
a spurious part was added. From the semi-genuine biography 
and memoir to the pseudo-biography and memoir is a natural 
transition. Like the secret-histories they were utilized for 
many purposes. The Memoirs of Mile, de St. Phale recounts 
her attempted conversion by some Jesuits. Many were polit- 
ical tracts. The Duke of Marlborough and Godolphin were 
often satirized, the former as Prince Mirabel,^^ the latter as 
E — of G — d — n. Even the King was not free from this 
form of personal abuse, if, as seems likely, he was the subject 
of The Compendious History of George the Farmer. On the 
other hand, these memoirs were often used as strong partizan 
pleas, three, for example, having been written on behalf of 
Harley, Such works, however, unless devoting considerable 
space to the " amours " of the hero, were regarded as tracts, 
rather than as novels. Gross personal gossip and slander fur- 
nished the sole interest in such narratives as Amokirs of the 
Sultana of Barbary (1680), i. e. the Duchess of Portland; The 
Princess of Fess, or the Amours of the Court of Morocco'^ 
(1682) ;-* and The Amours of Messalina, late Queen of Albion 

^ Modern Novels, vol. iv. 

" Done into English from the second edition of the French of the Abbe 
Olivier (by D. Defoe?), 1709. There was original matter added in the 
edition of 1713, and in 1724 a continuation appeared, for which no French 
original seems to have been found. 

^^ The History of Prince Mirabel's (i. e. John Churchill, Duke of Marl- 
borough's) infancy, rise and disgrace, with the sudden promotion of Novicus 
(i. e. Harley), In which are intermix' d all the intrigues relating to those 
adventures : as also the characters of the old and new favorites in the court 
of Britomartia. Collected from the Memoirs of a courtier lately deceased, 
3 pts., 1712. This is sometimes attributed to Defoe. 

^* Modern Novels, vol. iv. 



62 

(1689). In the History of the Marechal de la Ferte;-^ Cqsi- 
mer, King of Poland; The Cheating Gallant, or Count Brion;^^ 
and Gallant Memoirs, or Adventures of a Person of Quality," 
the element of personal slander has almost disappeared and we 
find the " historians " utilizing the novelle and the drama. The 
flippant aristocratic rakes who figure in most of these narra- 
tives have much in common with the roguish picaros and are 
distant precursors of the Lovelaces of the ensuing century. 

These sensational compilations possess no artistic merits to 
outweigh the essentially narrow and ephemeral character of 
the subject-matter, but their closeness to actuality, familiar 
style, vivid pictures, and pervading vigor were invaluable train- 
ing in realistic narration. Particularly helpful to the develop- 
ment of narrative art was the memoir, for by its very structure 
it gave a fortuitious unity to the series of adventures and 
afforded an excellent opportunity for the subjective analysis 
and development of character. Furthermore, the authentic 
works showed the writers of fiction how to produce the illu- 
sion of truth by the use of abundant detail and a simple con- 
fidential style. 

The Novel of Manners 

The Italian novelle of manners were in nearly all instances 
stories of indecorous intrigues and cheats perpetrated by char- 
acters of fixed types. The wife deceives her husband, the son 
cheats his father, the maid betrays her mistress, the appren- 
tice cheats his master, and we are called upon to laugh with 
the cheater. " To the victor belong the spoils," and no sym- 
pathy is wasted on the victim. The French retained the direct- 
ness and clearness of their models, and, unfortunately, the 
harshness and indecency as well, but by complicating and 
elaborating the intrigue, by reproducing in detail the externals 
of Parisian life, by introducing the superficial features of the 
prccieuse manners, and by the use of much dialogue and a 
colloquial style, they wrought a great and fundamental change. 
Slowly the set plots with fixed types yielded to stories drawn 

"^ Ibid., vol. vii. "' Ibid., vol. ii. ^ Ibid., vol. ix. 



63 

from actual life, and the characters began to assume indi- 
viduality. The most notable advance, perhaps, is in the matter 
of style. Essentially the slangy, yet withal witty, conversation 
of the Smart Set, it has little zesthetic merit; but after the 
endless periods and inane conceits of the romances, its life 
and vigor are stimulating. These changes came about gradu- 
ally. One writer combined Spanish romance with everyday 
episodes and manners, another depicted unusual characters in 
an old plot, another exploited new material but in a dull 
wooden style, while another retold an old story in a style so 
vivid as to give it new life. Most of these novels found their 
way into English, but fortunately the English themselves wrote 
a sufficient number to enable us to follow the development by 
studying the native productions. 

The Transition 

Of the combination of the romantic Spanish intrigue with 
prosaic contemporary manners, the English novels afford three 
excellent examples. In 1693, appeared Virtue Rezvarded ; or 
the Irish Princess,^^ by an anonymous writer and dedicated 
" to Marinda from whom is taken the name and chief beauties." 
Among the prisoners taken after the battle of the Boyne was 
Marinda, who though " She ne'er saw courts, yet courts could 
have undone." With this peerless country beauty the con- 
quering general immediately fell in love, and she, by maintain- 
ing her " virtue " so won his regard that he made her his 
wife. Interwoven with this Richardsonian story is the 
pathetic tale of Faniaca, a deserted Indian maid, one of the 
earliest sentimental stories concerning the trusting and much 
abused good savage. Other threads complicate the action, and 
the whole is hampered by detailed descriptions of gross adven- 
tures, the camp life of the soldiers, and lengthy disquisitions 
on statecraft, contemporary politics, and morals. The style, 
even in the scenes from camp life, is stiff and often ludi- 
crously pompous. 

Far more diverting is The Adventures of the Helvetian 

°' Mod, Nov., vol. xii. 



64 

Hero zvith the Young Cokmtess of Albania; or the Amours of 
Armadorous and Vinccntia: a Novel (1694). 

Armadorous, a handsome Switzer, sees in church the beautiful young 
countess of Albania. Instantly both fall in love and promptly both begin 
to pine away. Drusilla, Vincentia's maid, discovers the cause of her lady's 
disorders, and immediately proceeds to " capture the man." Dressed as a 
peasant, she ogles him in church, gives him mysterious, vague notes, and in 
short, gets him thoroughly excited and bewildered. In the meantime, Vin- 
centia frequents the church and leaves the rest to fate and Drusilla. Her 
mother has an intuition that something is amiss and reads her a lecture on 
the danger of clandestine attachments and the evil character of Switzers. 
By artful lying Vincentia escapes detection, but the mother is so far from 
being convinced that she whisks her daughter away to their country seat 
early the next morning. The distressed girl now recalls a dream " both pleasant 
and unpleasant," and, interpreting it to suit her desires, decides to write 
frankly to Armadorous. After one or two epistles have been exchanged, 
he commits the indiscretion of presenting both himself and his letters to 
the dowager. Then follows an excellent scene between Vincentia and her 
mother, in which the heroine declares the entire story a fraud and is forth- 
with ordered to " deny it to his face." To this she gladly consents in 
order to have the opportunity to talk with him, and, the mother being oppor- 
tunely called away, she explains the necessity for deception and plans out 
their future course. After many attempts, they succeed in eloping, are 
forgiven by the dowager, return to her, and live happily for a short time, 
all in accordance with the first part of the aforementioned dream. But 
one unlucky day Armadorous inquires about the estate, for "no Switzer fights 
where no money is." This enquiry greatly angers Vincentia, who, as it 
turns out, had years before settled her estate on her mother. The lovers 
quarrel, separate, and enter suits for divorce. Before the case reaches the 
court, the hero is taken seriously ill, which leads him to repentance and 
arouses a desire for reconciliation. He sends pitiful notes to the now 
obdurate Vincentia, and as soon as he is well enough, returns to his wife, 
but although he sings and pleads outside her window, he receives no re- 
sponse. " So he wanders like ^Eneas from place to place, modestly telling 
the story of his woes and always winning the sympathy of the ladies." 
Indeed so strong does public opinion become that Vincentia finally takes 
him back. " Which tale," concludes the author, " should be a warning to 
quarrelsome lovers." 

Less sprightly is the tale of the Unhappy Lovers; or, The 
Timorous Fair One, being the Loves of Alexander and Mel- 
lecinda (1694). 



65 

The perfect hero Artaxander^ loves the incomparable beauty Mellecinda, 
who reciprocates his affection. Her mother, with hardhearted perversity, 
prefers the foolish poltroon Lucidor. So the mother manoeuvres very clev- 
erly to have Artaxander given a distant army command, and, upon his receiv- 
ing a slight wound, sedulously spreads the report that he has been killed. 
Upon the receipt of the news Mellecinda falls very ill, but after lying 
several weeks at death's door, improves sufficiently to be moved by her 
mother to the country estate of the detested Lucidor. But alas for those 
well laid plans ! Artaxander, his wound having been healed, passes, on his 
way home, the estate of Lucidor, and with the assistance of his valet 
obtains several interviews with Mellecinda. He urges her to elope, but 
she hesitates and puts him off, and, before she makes up her mind, her 
" indiscretion in staying abroad too late " leads to the discovery of the 
clandestine interviews, which are thus brought to a summary close. Then 
the mother, by bribing the valet and forging cruel notes from Mellecinda, 
drives Artaxander to such despair that he seeks death in battle. Yet the 
scheming mother does not succeed in marrying Mellecinda to her favorite, 
for the night that Artaxander dies, at the exact moment that his soul is 
leaving his body, he appears to Mellecinda in a dream, and, without waiting 
for further tidings, she knows that " her lover is no more " and forthwith 
enters a nunnery " to await her release from so cruel a world." 

These three stories illustrate the transition from the ro- 
mance to the idealistic novel of manners.^" The plots are 
intrigues but not of the conventional type and our sympathy- 
is with the victims not the villains. The characters are not 
heroic, not even markedly romantic; but, on the other hand, 
they are not quite easy and natural. As for the style, it varies 
from the rhetorical phraseology of the romances in the emo- 

^ Throughout the story the hero is consistently called Artaxander instead 
of Alexander. 

^ These novels in many ways resemble a group of narratives which 
appeared in France about 1600 and are described in considerable detail by 
G. Reynier in Le Roman Sentimental avant L'Astree, ch. xii, pp. 300 to 
313. There is, so far as I have been able to discover, no record that Les 
chasts et heureux Amours de Clarimond et Antonide, by Escuteaux, Paris, 
1601 ; La Vivante Filonie, by Faure, Paris, 1605 ; or Les constantes et 
infortnnes Amours de Lintason avec I'infidele Palinoe, by de la Regnery, 
Paris, 1601, were translated, yet the English works resemble them in so 
many points that I feel they were in some measure indebted to them. M. 
Reynier's description indicates that the plots were much simpler than in 
the English stories and by omitting all mention of humorous passages, he 
implies that humor was not present, or at least not so prominent a feature 
as in the English examples. 
6 



66 

tional outbursts, to bright colloquial diction in the dialogues. 
They show also another influence which had much bearing 
on the novel of manners, namely, that of the contemporary 
comedy. 

Narrative Comedies 

Restoration comedy is remarkably readable. It depends for 
its success not so much on its theatrical qualities as on the 
clever manipulation of a complicated and artificial intrigue, 
on the clashing of the incongruous, and on the brilliant 
repartee of the dialogues. It is hard, cynical, superficial, 
and often indecent, all of which characteristics it shares with 
the old novelle, but it possesses a freshness and brilliancy all 
its own. Moreover, this comedy held a certain prestige 
and a well recognized status in the literary world. It was 
natural, then, that the novelists working with the same mate- 
rial, but in a form only partially developed and only beginning 
to be recognized, should turn to comedy for suggestions.^^ 
The influence of comedy can be traced in practically all of the 
novels of the period, but it is particularly evident in a small 
group which may be called Narrative Comedies. The Helvetian 
Hero might almost be so classed, for the humor is largely due 
to the cross purposes of the characters and the verbal mis- 
understandings. There are many episodes which would be 
most effective on the stage. Take the amusing scene in which 
Vincentia, having denied all knowledge of the letters Arma- 
dorous had presented to her mother, was forced to deny her 
letters to his face and to the satisfaction of the angry dowager 
and the mystification of Armadorous, took the notes and 
solemnly declared, " I swear I never wrote this (looking at one 
the maid had penned)." These humorous bits, however, 
are few and far between, and not the head and front of the 

^^ Many of the Restoration comedies were based on the French novels ; 
for example, A Fool's Preferment, by Durfey, is founded on The Humours of 
Bassett, the same author's The Intrigues of Versailles, on The Double 
Cuckold and The Amorous Jilt, Dryden's Assignation, or Love in a Nun- 
nery, on Constance, the fair Nun and Scarron's Comical Romance, and his 
Spanish Fryar largely on The Pilgrim. 



67 

whole, as in the case of some six short novels now to be con- 
sidered. 

The History of the Loves of Lysander and Sahina: a Novel 
(1688), is a most entertaining story written in a manner truly 
diverting. 

Lysander, a soldier of fortune, upon being forbidden to marry the English 
Sabina, went to Holland to divert his mind, and there met, and was com- 
pletely charmed by Clarinda. He followed her to Spain, but their affection 
was so intense that it exhausted itself ! He began to look for an excuse to 
leave and she to urge her father to provide her with a suitable husband. 
At this critical moment, he received a letter from the almost forgotten 
Sabina and resolved to return to her at once, and at the same time, Clarinda 
received word of her betrothal and orders to proceed immediately to the 
family seat of her fiance. So it happened that, 

" They both began their journey on the same day, and both under false 
pretences. And though they had been very well content with the whole 
truth, yet neither of them durst begin to declare. At parting they took a 
very formal and composed leave, without the least transport of passion, at 
which both wonder'd extreamly. After parting the only thing they were 
each of them very solicitous about, was the great trouble and perplexity 
which would seize upon the other when the mystery came to be revealed. 
Lysander doubted how poor Clarinda would receive the news of his depar- 
ture for England, and her greatest affliction was to think how he would 
endure to hear of her marriage."^' 

Four years later appeared Incognita: or Love and Duty 
Reconciled by Congreve, who, with his usual affectation, wrote 
under the pseudonym of " Cleophil." The preface in which 
he so carefully distinguished between the novel and the 
romance has become famous, and has already been quoted in 
part. Proceeding from his general premise that " Romances 
give more of wonder. Novels more delight," he draws an 
analogy between fiction and the drama, and lays down certain 
laws which he intends to follow in his novel. 

" And with reverence be it spoken and the parallel kept at a due distance, 
there is something of equality in the proportion which they bear in refer- 
ence to one another, with that between comedy and tragedy. Since all 
traditions must indisputably give way to the drama, and since there is no 
possibility, of giving that life to the writing or repetition of a story that it 
has in the action, I resolved in another beauty to imitate dramatick writing, 

=^P. 135- 



68 

namely in the design, contexture, and result of the plot. I have not observed 
it before in a novel. The design of the novel is obvious, after the first 
meeting of Aurelian and Hippolito v^^ith Incognita and Leonora, and the 
difficulty is in bringing it to pass, maugre all apparent obstacles within the 
compass of two days. How many probable casualities intervene in oppo- 
sition to the main design viz. of marrying two couples so oddly engaged in 
an intricate amour, I leave the reader at his leisure to consider ; as also 
whether every obstacle does not in the progress of the story act as subser- 
vient to the purpose, which it at first seems to oppose. In a comedy this 
would be called the unity of action ; here it may pretend to no more than 
the unity of contrivance. The scene is continued in Florence from the com- 
mencement of the amour ; and the time from the first to last is but three 
days." 

Practically every critic who has discussed Incognita at all, 
has censured it upon the ground that it fails to follow in 
any way the rules the author laid down in his very interest- 
ing preface, but bearing in mind the nature of Restoration 
comedy, it seems to me that it exactly conforms to Congreve's 
canons. It is, as might be inferred, nothing more nor less than 
a series of amusing scenes connected by sprightly narrative. 
The humor arising from the deliberate confusing of identities 
and purposes and from the dramatic situations is heightened by 
witty asides. It is quite apparent that Congreve visualized the 
scenes, we feel he saw the actor as he penned such a descrip- 
tion as the following: 

" But Aurelian, as if he had mustered up all his Spirits purely to acquit 
himself of that passionate harangue, stood mute and insensible, like an 
Alarum Clock that had spent all its force in one violent emotion." 

Undoubtedly much of the humor lies in the style and in the 
very amusing digressions. Congreve was by no means the 
first to make use of the digression; we find it in Nash, in all 
four of the novels we have just been discussing, as well as in 
the burlesque Zelinde, but Congreve was the first to employ it so 
largely and so consciously. His little digression on digressions 
is delightful, and many of his short asides are quite in the spirit 
of Thackeray. 

" Now the Reader I suppose to be upon thorns at this and the like imper- 
tinent digressions, but let him alone and he will come to himself; at the 
which time, I think fit to acquaint him, that when I digress, I am at that 



69 

time writing to please myself; when I continue the thread of the story, I 
write to please him ; supposing him a reasonable man, I conclude him 
satisfied to allow me this liberty, and so I proceed."^^ 

And again, 

" So that although Leonora was indeed mistaken, she could not be said 
to be much in the wrong. I could find it in my heart to beg the reader's 
pardon for the digression, if I thought he would be sensible of the civility, 
for I promise him, I do not intend to do it again throughout the story, 
though I make never so many, and though he take them never so ill." 

Witty passages are so numerous that it is difficult to choose 
what to quote, but the following burlesc^ue will probably 
suffice. 

" At that (as Aurelian tells the story) a sigh diffused a mournful sweetness 
through the air, and liquid grief gently fell from her eyes, triumphant 
sadness sat upon her brow, and even sorrow seemed delighted with the 
conquest he had made. See what a change Aurelian felt. His heart bled 
tears and trembled in his breast, sighs struggling for a vent had choked 
each other's passage up ; cold doubts and fears had chill'd'em as with a 
sudden frost, and he was troubled to an excess ; yet knew not why. Well, 
the learned say it was sympathy; and I am always of the opinion of the 
learned, if they speak first."^* 

The remaining narrative comedies, if they may be so called, 
more closely resemble the French. The Generous Rivals; or 
Love Triumphant (1716), is the best. 

Vulpone, the avaricious uncle of the heiress Dorinda, has planned to 
marry her to the wealthy Phylostratus, but she prefers the poor Paneretus, 
and he the poor Caelia, cousin to Dorinda. In order to communicate with 
Caelia, Phylastratus readily makes use of his favor with Vulpone to act as a 
go-between for Dorinda and Paneretus. The lovers themselves are for a 
while in ignorance of the real feelings and motives of each other and as 
much fun arises out of their misunderstandings as out of the bewilderment 
of old Vulpone. References to Spring Garden, Whitehall and similar places 
give a good deal of local color. 

The style is colloquial and vigorous with occasionally such 
vivid bits as this : 

Phylastratus, seeing her come sailing towards him, as 'twere with a 
brisk gale, immediately rose up in order to carry on the encounter with the 
better advantage. 

"^P. II. ^ P. 97-98. 



70 

The Rival Mother (1692), deals with a popular French 
theme in a conventional manner. 

Asteria, a widow, had long been wooed by Tazander, who fell in love with 
her daughter, Eliciana, who in turn was loved by Oxaris. The mother was 
naturally grieved when Tazander asked for the hand of her daughter, but 
seemingly consenting, substituted her own name in the contract. Eliciana, 
though broken-hearted, determined to be obedient, and after much suffer- 
ing was rewarded by Tazander's renouncing her in favor of her mother. 

The Reformed Coquet by Mrs, Davys, which did not appear till 
1724, shows the influences of the eighteenth century didac- 
ticism, but in many ways resembles Incognita. 

Amoranda, a wealthy heiress and a great flirt, takes pleasure in the 
attentions of Lofty and a host of Flutters and Froths. A young lord, the 
guardian's candidate for her husband, goes to live in the young lady's 
establishment in the guise of an adviser and dear friend of her guardian. 
In the course of a few weeks, he rescues her from many questionable 
situations, shows her the wickedness and frivolity of her numerous suitors, 
and completely wins her regard, whereupon he takes off his disguise and 
reveals the ideal lover. This is one of the earliest appearances in fiction 
of the perfect prig of which Sir Charles Grandison is the consummate 
example. 

In Style, scenes, names and general effect it is allied to the 
narrative comedies, while in purpose and spirit it suggests the 
novels of Richardson, and the edifying tales of Mrs. Rowe. 

The Portuguese Letters 

Before passing to the work of Mrs. Behn it will be neces- 
sary to take into consideration one other influence, perhaps the 
greatest single influence of the century, namely the Letters of a 
Portuguese Nun.^^ The first edition, a French translation, was 

^^ The Letters of a Portuguese Nun. Translated by Edgar Prestage, Port- 
land, Me., Thos. Mosher, 1900. This is a reprint of D. Nutt's edition 
(London, 1897), itself a revision of the 1893 edition printed by the Con- 
stable Press and limited to 500 copies. 

For a discussion of the problems see : Cordeiro : Soror Marianna. A 
Friera Portugneza (Lisbon, 1888, sec. ed. 1891), which Prestage quotes as 
a definitive study, and E. Gosse, " A Nun's Letters." Fortn. Review, vol. 
XLIX, o. s., p. 506. 



71 

published by the Parisian bookseller Claude Barbin in 1669, 
and in turn translated into English by Roger L'Estrange in 
1678. From that time until the present day there has been 
much discussion as to their authenticity, but scholars seem to 
have decided that they are the genuine letters of Marianne 
Alcoforado to Noel Bouton, Marquis of Chamily and St. 
Leger. A pitiful story of passionate love, despair, and proud 
resolve, is revealed in these five letters in which, to quote 
L'Estrange, the deserted woman " expostulated the business " 
with her lover.^^ The impropriety of the subject and the com- 
plete self-abandonment, appealed strongly to the sensation- 
loving seventeenth century. Here was none of that ethereal, 
dignified love of the romances, but a violent passion, of the 
earth earthy, expressed with that wealth of detail dear to the 
realists. The heroine retraced and fondly lingered over every 
circumstance in the history of her love, she deliberately wrought 
up her emotions, she appealed to her lover with pathetic tender- 
ness, she luxuriated in self-pity and gave herself up to despair 
in a way, which, in spite of her terrible earnestness, verges on 
sheer sentimentality. 

"Why did you not leave me in the repose of my cloister? Had I done 
you any wrong? Yet pardon me, I impute nothing to you; I have no right 
to think of blame ; I accuse only the severity of my fate : in separating us, 
it has inflicted all the evil that it could. . . . Adieu ! I know not how to quit 
this paper ; it will fall into your hands. Would the same happiness were 
mine ! " ^' 

" Were it possible for me to quit this miserable cloister, I would not wait 
in Portugal for the fulfillment of your promise. Regardless of appearances, 
I would fly to seek you, love you, and follow you through the world. I 
dare not flatter myself that this can ever be ; I will not cherish a hope that 
would assuredly yield me some pleasure ; henceforth I will be sensible to 
grief alone." ^* 

" I go as seldom as possible out of the room where you have been so many 
times, and I look incessantly at your portrait, which is a thousand times 

^Letters from a Portuguese Nun to an Officer in the French Army. 
Translated by W. R. Bowles, edition of 181 7. Reprinted by Brentano, New 
York, 1904. The quotations are taken from Brentano's edition. In Pres- 
tage's edition the Letters follow a different order, the one now believed to 
be chronological. 

^P. 66. 

^P. 66. 



72 

dearer to me than life. It affords me some pleasure; but it likewise causes 
me a great deal of anguish when I think that I shall, perhaps, never see 
you again." '" 

" The officer has waited long for this letter : I had resolved to write in a 
style that should not displease you : but what an extravagant letter have I 
written — I must conclude — Alas ! I cannot resolve to do it. Adieu ! I 
suffer more in concluding this letter than you did in leaving me. Adieu !" 

" How dear you are to me ! Oh, how cruel you are to me ! You never 
write to me — I cannot refrain from telling you that once more — I am 
beginning again, and the officer will be gone — No matter — let him go ! I 
write more for myself than you, I only seek to console myself. . . . What 
have I done that I should be thus miserable, and why have you embittered 
my life? Oh that I had been born in another country!"**" 

" Adieu, I fear to say too much of my misery : yet I thank you from the 
bottom of my heart for the desperation you have caused me, and loathe the 
tranquility in which I lived before I knew you. Adieu, my love increases 
every minute ! Ah, how many things I haTe to tell you ! " " 

Realism of external detail and straightforwardness of narra- 
tion were familiar to writers of short tales, but when it came to 
the expression of emotion, they borrowed the language of 
romance or resorted to cynical grossness. These Letters, the 
first example of realism of emotional detail, came at the psy- 
chological moment to exert the greatest influence. There 
already existed a taste for sentimentalism of an artificial reflec- 
tive sort, or the Greek and heroic romances, the tragi-comedies 
and heroic plays would never have been so popular. Likewise 
there existed the taste for self-analysis, for egoistical enjoy- 
ment in recounting one's own experiences with the minutest 
detail, as the diaries of Pepys and Evelyn amply testify.*- 
Moreover, the Letters came at the high-tide of the revulsion of 
feeling against the visionary ideals and poetic language of the 
Hotel de Rambouillet on the one hand, and against the high 
thinking and plain living of the Puritans on the other, in favor 
of life in the raw — robustness, passion, and at its worst, im- 
moral license in word and deed. The English edition of 1678 
was followed by those of 1681, 1693, 1694 and 1716, by several 
renderings in verse, additions, replies, various imitations, and 

^P. 75. ^^P. 106. 

*"P. 104. "P. 86. 

" Cf. Burr, The Autobiography, pp. 182-184. 



73 

a version of the Letters of Abclard and Heloise*^ (1722). 
Such close copies as Mrs. Manley's Letters in imitation of those 
by a Portuguese Nun (1696), Letters of Love and Gallantry, 
including the Adventures of a Young Lady, by Herself, in 
several Letters to a Young Gentleman in the Country, and the 
Nun's Letter to the Monk, with other passionate letters that 
passed between both sexes in tozun and country (1693) and 
such variations as The Love-letters betiueen a Nobleman and 
his Sister: . . . under the borrozued names of Philander and 
Silvia (1734) call for no comment. A curious sequel appeared 
in a collection called The Lining of the Patch-zcork Screen by 
Mrs. Jane Barker (1726).** 

How great an effect these Letters had on the cult of senti- 
ment would be interesting to determine. For France, Pro- 
fessor Waldberg has collected some interesting statistics 
showing that it was quite the fashion to write " a la Portu- 
gaise,"*^ but I have not met with such specific instances in 

*^ The Letters of Abelard and Heloise were put forth in a Latin, edition 
in 1616 and translated very freely into French about 1675 and again by 
Bussy Rabutin in 1695. In these and contemporary versions the translators 
altered the originals to make them resemble the Portuguese Letters. The 
English versions to the present day are based on the French translations 
instead of the Latin originals. 

" The author states that shortly after the publication of the Letters, it was 
reported that a Sister long ill had escaped from the nunnery, and that on 
the night of her flight a fire occurred in the cell of " her of the Portuguese 
Letters," and a corpse, burned beyond recognition, having been found there, 
it was presumed she had taken that way of leaving the world. This the 
author goes on to explain was a mistake : as a matter of fact, the sick nun 
had died and Marianne (whose letters had brought back her recreant lover) 
had put the corpse in her bed and set fire to the room in order to cover her 
own elopement. The two lovers lived happily for several years. Then the 
man died, and Marianne and her children were left destitute, for she was 
debarred from her inheritance and the children, since their parents were 
not legally married, could not inherit their father's estate. Whereupon 
follows a long discourse on the just punishment of sinners. In Casa 
Braccio, by F. Marion Crawford (New York, 1895), a nun's elopement is 
accomplished by this same device. 

** Cf. Waldberg, Der empfindsame Roman in Frankreich, pp. 45-122. " Si 
je le faisois reponse sur le meme ton, ce seroit une portuguaise," from 
the Letter of Madame de Sevigne to her daughter, July 19, 1671. II. 284, 
ed. 1867. Quoted on p. 81. Later romanticists, such as Goethe, were much 
impressed by the Letters. 



74 

England, although the correspondence of Mrs. Behn was evi- 
dently in imitation of them. Their influence on the expression 
of sentiment is noticeable in the tragic pathos of Otway's 
Orphan (1680), and Venice Preserved (1682), in the dramas 
of Southerne, to a less extent in those of Rowe, and in such 
poems as Pope's Eloisa to Ahelard (1717). Language, 
which in the original had the force of sincerity, was put in the 
mouth of every heroine, so that before long this hysterical 
self-abandonment became almost as much of a convention as 
the preciosity of the romances. With the eighteenth century 
came a reaction against both this violence and this immorality, 
in a desire to make manners and morals conform to certain 
well-established rules. The attempt to adjust the unrestrained 
expression of passion to the " prunes, prisms, and proprieties " 
of middle-class London resulted in that sentimental didacticism 
of which Richardson is the great exponent. 

Equally great and more obvious than the bearing of these 
letters on the growth of sentiment, was their influence on 
the rise of the letter as a narrative form.^'' The form was 
not a complete innovation, for letters were a common device 
in the romances, and polite society had long been amusing itself 
composing elegant epistles ;*^ but these, as Mr. Gosse points out, 
were the first to convey real emotion and as such they exerted 
an influence on letter-writers. More important in view of 
the development of narrative art, they were almost the first 
to reveal an entire story, certainly the first to enjoy a wide- 
spread popularity. Professor Waldberg has shown in detail 
how great an influence they exerted in France. So many 
imitations cannot be cited in England, but it is surely 
significant that, while before 1678, there were no novels in 
letter form, in the remaining years of the century, out of 
the score of original English works there were at least 
eight. A still further impetus was given to the letter form 
by its adoption for satire in the remarkably popular Letters of 

*° Cf. Waldberg, Ibid. Reynier, Le Roman Sentimental avant I'Astree, 
ch. vi, p. 246, gives a list of erotic works in letter form before 1610. 

" Cf. Upham, The French Influence in English Literature, pp. 434-447, 
for a discussion of the vogue of Voiture, Balzac, " Orinda," Howell, and 
Loveday. 



75 

a Turkish Spy,^^ which enjoyed numerous English editions. 
From that time dates the vogue of the pseudo-letter which 
was utilized for descriptions, character-sketches, gossip, politi- 
cal discussion, and narratives. 

All the influences mentioned in this chapter — the Spanish 
novel of the Cloak and Sword, the French story of con- 
temporary scandal, the Narrative Comedy, and the passion of 
the Portuguese Letters are reflected in the vigorous work of 
the buoyant Mrs. Behn. 

Aphra Behn*^ 

The life and work of the " admirable Astrea," as Mrs. Behn 
was universally called, has received such careful and adequate 
treatment by Professor Siegel that the present writer need 
only summarize his conclusions and elaborate somewhat Mrs. 
Behn's relationship to the influences so far discussed, and her 
relative position in the development of fiction. Of her parentage 
and early life, we know practically nothing more than that in 
1650, when the little Aphra was about ten, she, with the rest 
of the family, accompanied her father, one John Johnson, to 
Surinam, whither he had been sent as Lord Lieutenant of the 
Barbadoes. As he died on the way out, the family very 
shortly returned, but how deep an impression was made on the 
mind of the future novelist may be gathered from her many 
references to the Indies and particularly from her most notable 

^ The first English edition, Letters writ by a Turkish Spy, who liv'd five 
and forty years . . . at Paris: giving an Account . . . of the most remark- 
able transactions of Europe . . . from i6s7 to 1682, appeared in 1687, and 
is now conceded to be a somewhat modified translation by T. S. Midgley, 
Wm. Bradshaw, Dr. Manley and others from L'Espion Turc, by G. P. 
Marana, Paris, 1684, 1685, 1686, and Amsterdam, 1687. The remaining 
three books appeared first in London, due, it is said, to complications about 
the printing. Later there were numerous pseudo-continuations. Some 
idea of the popularity of the work may be gathered from the fact that it 
reached its twenty-sixth edition in 1770. 

^^ Aphra Behn's Gedichte nnd Prosawerke, P. Siegel. Anglia, xxv, pp. 
86 sq., and 329 sq. Separately printed. New York and Halle, 1901. 

The Plays, Histories and Novels of Mrs. Aphra Behn. With Life and 
Memoirs. Published by Mr. Charles Gildon. Six volumes. London, 1871. 
Reprinted from the 1705 edition, itself revised from the 1696 edition. 



76 

novel, The History of the Royal Slave, or Oroonoko. She 
married, when httle more than a girl, a Mr. Behn, a Dutch 
merchant resident in London, who, however, lived only a few 
years. His death deprived his widow of her only means of 
support and forced her to make the most of her talents to 
amuse the court, where her vivacity and good looks had 
already won her favor. The King, taking advantage of her 
Dutch connections, sent her to Holland as a spy in 1666-67, 
and, had his ministers put more faith in her advices, the 
English might have been spared the shame of having the fleet 
burned in the Medway. While in Holland, Mrs. Behn be- 
came engaged to another Dutchman, the " Vander Albert " of 
the letters, who, to quote her first biographer, " on his way to 
make all things ready for his voyage to England and matri- 
mony died of a fever." The " fair Astrea " devoted the rest 
of her life to " pleasure and Poetry," or rather to the labor 
of supporting herself by her pen, for from 1671, the date of 
her first play, until her death in 1691 she wrote in many 
fields : — poetry, drama, fiction, besides translating Latin 
classics like Ovid, French novels, and such semi-scientific 
works as Fontenelle's Theory of Several New Inhabited 
Worlds . . . lately Discovered. 

Only her prose narratives, in the eyes of the author and 
her contemporaries the least important part of her work, are 
of interest to us. The three series of letters, two elaborate 
" conceits " from the French, and seven novels are all con- 
tained within the limits of two small volumes. Two sets 
of letters concern her adventures in Holland ; one being a 
burlesque correspondence between an admirer and herself, 
the other being a vivid account of her experiences and obser- 
vations. In the latter occur the earliest attempts at narration, 
and in them, particularly in the story of the two young rakes, 
who by playing on their miserly old father's fear of ghosts, 
terrify him into yielding them his money and retiring to a 
monastery, may be found the manner and spirit of her later 
works almost as perfected as in The King of Bantam or 
Oroonoko. The third series of letters, known as The Love- 
Letters to a Gentleman, are entirely different in tone and style 



77 

— a difference due, it seems to me, to the influence of the 
Portuguese Letters. The exact date of Mrs. Behn's letters 
is uncertain, but as there is a reference to " my new play," 
they must obviously have been written as late as 1671, when 
her first play appeared. Even if they were written in the 
year of the play, the French edition of the Letters of a Portu- 
guese Nun had preceded them by at least two years. The 
influence of the latter may be traced in the likeness of situa- 
tion, tone, and style. The situation, that of a woman trying 
to retain the love of a luke-warm lover by revealing the 
strength of her own passion, is practically unique in the writ- 
ings of Mrs. Behn. The only apparent exceptions are The 
Fair Jilt and the subsidiary story of " the injured and forsaken 
Elvira " in The Nun, and upon closer examination these prove 
quite different. The heroine in the Fair Jilt tries to arouse 
a passion and fails, but she is not deserted, and her love be- 
comes no abject devotion, but a violent hate. Furthermore, 
she soon shifts her affection to one of her numerous adorers, 
and even the unappreciative monk to whom she was first 
attached, appreciates the "honour done him" and writes to 
her " with all the profound respect imaginable." Elvira's 
case is more nearly in point, but Mrs. Behn took no pains to 
elaborate Elvira's feelings or to show that she tried to win 
back her lover. Moreover, in the somewhat similar instances, 
as in the rest of her work, Mrs. Behn held to the Platonic 
formulas. In the grossest of her stories the heroes and 
heroines employ the decadent preciosity which had been 
popularized in such pieces as Lycidas,^^ The Lover's Watch, 
and Lady's Looking-Glass,^^ which she herself translated, so 
that the very different style in the Letters to Lycidas is all the 
more striking. 

" Possibly you will wonder what compels me to write? What moves me 
to send where I find so little welcome ; nay, where I meet with such returns : 
it may be I wonder too."''^* 

^^ From Le Voyage de I'isle de V Amour a Lycidas, 1663-1664, trs. 1680. 
^^ From La Montre; par M. de Bonnecorse ; a Cologne 1666; Iseconde 
partie contenant La Boete et Le Miroir. Paris, 1671. 
"« Letter III, p. 58. 



78 

"Was that, my friend, was that the esteem you profess? Who grows 
cold first? Who is changed? And who the aggressor? 'Tis I was first 
in friendship and shall be last in constancy. Take your course ; be a friend 
like a foe, and continue to impose upon me, that you esteem me when you 
fly me. Renounce your false friendship, or let me see you give it entire to 

Astrea." **- 

" You ought. Oh faithless and infinitely adorable Lycidas ! to know and 
guess my tenderness ; you ought to see it grow, and daily increase upon 
your hands. If it be troublesome, 'tis because I fancy you lessen. . . . Oh 
unlucky, oh vexatious thought ! . . . Or, why make more words of tender- 
ness, than another woman, that loves as well, would do, as you once said? 
. . . Farewell. I love you more and more every moment of my life. 
Know it, and Good-night." ^^ 

The difference between these letters and the rest of Mrs. 
Behn's work is usually explained on the ground that this was 
a more sincere attachment, and it is very possible that her love 
for Lycidas may have been real, but certainly in expressing 
herself she deliberately modelled her letters after those by 
the Portuguese Nun. 

The seven novels, whether classified according to chronol- 
ogy or according to genre, fall into the same three groups : 
humorous stories, " histories " based on observed facts, and 
novels of the cloak and sword order. As has just been 
pointed out, the earliest attempts at prose narrative are in 
the letters retailing gossip, and are amusing anecdotes pre- 
paring directly for such a piece as The Little Black Lady^* 
which appeared in 1663 and is presumably her earliest novel. 
It is a witty description of the many humorous mishaps that 
befel a most unsophisticated little brunette when she visited 
London. As in many of these stories of the French order, 
we feel that the author originally read it aloud, and that, 
bright as it is, we lose something by knowing it only from 
the printed page. This is less true of Mrs. Behn's next 
narrative The King of Bantam,^^ though that also is in 

"Letter II, pp. 64-5. 

^^ Letter VIII, pp. 84-5. 

" The Adventure of the Black Lady, vol. ii. Histories and Novels, or 
Complete Works, vi. 325-336. 

^° The Court of the King of Bantam, Complete Works, vi. 292-324. The 
date is uncertain, but the story must have been written before the death of 



79 

the conversational French manner. The plot is much more 
elaborate, the characters sharply contrasted, and the general 
style and method those of the narrative comedies. 

Sir Philip Friendly, by taking advantage of the Twelfth Night custom of 
choosing a mock king and queen, tricked a foolish fop. Would-be King, 
into bestowing a round sum on his (Friendly's) mistress, and on his niece 
a fortune sufficiently large to permit her to marry her lover. 

From the point of view of structure and style this is Mrs. 
Behn's best novel ; in cleverness, extravagance, and comic 
force it challenges comparison with the best Restoration 
comedies. The local color given by the names of Whitehall 
and Charing-Cross, the seeming endeavor to be accurate, and 
the raciness of the style obscure its close relationship to con- 
temporary French fiction, yet these very characteristics are 
imitated from the Parisian stories.^*' 

"This money certainly is a most devilish thing! I'm sure the want of it 
had like to have ruined my dear Philabella, in her love to Valentine 
Goodland." " 

" When he was in town, he lived — let me see ! in the Strand ; or, as near 
as I can remember, somewhere about Charing-Cross ; where, first of all 
Mr. Would-be-King, a gentleman of a large estate in houses, land and 
money, of a haughty, extravagant, and profuse humor, very fond of every 
new face, had the misfortune to fall passionately in love with Philabella, 
who then lived with her uncle." ^^ 

Mrs. Behn did not again appear as a writer of fiction until 
1688, in which year she published her two so-called histories. 

Charles II, since this passage occurs: " Indeed I don't hear that his Majesty 
King Charles II ever sent an ambassador to compliment him ; though pos- 
sibly, he saluted him by his title . . . for, you know, he is a wonderful 
goodnatured and well-bred Gentleman" (p. 313). 

In Spectator, 557, June 21, 1714, there is a reference to a letter as 
" written in King Charles II's reign, by the Ambassador of Bantam." 

'"^ As, for example, such translations as The Gentleman-Apothecary, Being 
a Late and True Story, 1670 ; The Husband Forc'd to be Jealous, 1668 ; The 
Disorders of Basse tt, 1688 ; The Crafty Lady, or the Rival of Himself, 1683. 

^^ Ibid., p. 292. 

^ Ibid., p. 293. 



80 

Of these The History of the Royal Slave; or, Oroonoko-'^ is 
the better known. The author lays great stress on the fact 
that she is chronichng events and not writing a romance : 

" I do not pretend, in giving you the History of this Royal Slave, to enter- 
tain my reader with the adventures of a feigned hero, whose life and for- 
tunes fancy may manage at the poet's pleasure ; nor in relating the truth, 
design to adorn it with any accidents, but such as arrived in earnest to 
him." =•'» 

The plot therefore is biographical, but is nevertheless com- 
posed of two distinct parts ; the first deals with Oroonoko's 
life in his native land and particularly concerns his love affair 
with Imoinda, the second recounts his kidnapping and his ad- 
ventures in Surinam. The first, Mrs. Behn fabricated, the 
second she witnessed. Nothing could show more clearly 
than the first part her lack of real imaginative power; her 
negro court is a combination of Restoration licentiousness and 
the luxuriousness of the pseudo-Oriental romances. The 
second part has all the interest of a sensational incident re- 
ported by a keen and able eye-witness. With contagious zest, 
she describes Oroonoko's appearance, his manners, and be- 
havior, tells us what he said, what he did, what she thought 
of him, and what the other people thought, yet always keeps 
us in sympathy with the hero. Her hold on her readers, like 
that of Defoe, comes first of all from her own earnestness. 
In form and style Oroonoko is inferior to its predecessors, 
there is more extraneous material, and a tendency to rant in 
the moments of emotional stress, but the tone is so much 
higher and the subject so interesting that Oroonoko justly 
ranks as the author's masterpiece. It is frequently referred 
to as the first humanitarian novel and as a forerunner of 
Uncle Tom's Cabin, but it is more than doubtful if Mrs. Behn 

^^ The History of the Royal Slave; or, Oroonoko. Complete Works, vol. 
V. The plot, briefly stated, relates the kidnapping of Oroonoko and Imo- 
inda into slavery; their reunion and marriage in Surinam, and the ill 
treatment and final revolt of Oroonoko, culminating in his murder of his 
wife, Imoinda, and his own execution. 

It was dramatized as Oroonoko ; a tragedy, by Southern in 1696, and as 
Victorious Love by William Walsh in 1698. 

°'°v. 75. 



81 

was trying to arouse sentiment against slavery. Abuse of 
the slaves she certainly denounced, but, as in the case of Defoe, 
there is nothing in her discussion to indicate that she thought 
they, as a race, ought to be free, or that she thought such in- 
feriors could be anything but slaves.^^'' Oroonoko was an ex- 
ceptional case. She had come in contact with his personality 
and her sympathy had been aroused. Moreover, it should be 
remembered that Oroonoko is no ordinary negro, but a king 
and a hero from romance. The brutal murder of Imoinda and 
the stoical endurance of torture is the conduct of a savage, and 
in those passages Mrs. Behn was depending upon her observa- 
tions ; but, generally speaking, Oroonoko conducts himself with 
the propriety of those heroes of romance who were enslaved 
by the piratical Moslems. 

" The most famous statuary could not form the figure of a man more 
admirably turned from head to foot. His face was not of that brown 
rusty black which most of that nation are, but a perfect ebony, or polished 
jet. . . . His nose was rising and Roman, instead of African and flat; his 
mouth the finest shaped that could be seen, far from those great turned lips, 
which are so natural to the rest of the Negroes. The whole proportion 
and air of his face was so nobly and exactly formed, that bating his 
colour, there could be nothing in Nature more beautiful, agreeable and 
handsome." ^ 

" He had an extreme good and graceful mien, and all the civility of a 
well-bred Great Man. He had nothing of barbarity in his Nature, but in 
all points addressed himself as if his education had been in some European 
court." ""* 

Closely connected with the heroic mould of Oroonoko is the 
conception of the ideal man as the good savage. Mrs. Behn 
introduced this character into fiction, and no doubt had much 
to do with popularizing the idea.^"'' It was, however, well dis- 
seminated at this time, for it was a current Hobbism and had 

""' Cf. Oroonoko's denunciation of his confederates, " by nature slaves." 
p. i8i. 

«° Ibid., p. 87. 

'^^ P. 86. 

""•Oroonoko was translated into German in 1709 and into French in 1745, 
and in both countries was dramatized. 
7 



82 

already been finely phrased by Dryden in The Conquest of 
Granada (1672) : 

" But know, that I alone am king of me. 
I am as free as nature first made man, 
Ere the base laws of servitude began, 
When wild in woods the noble savage ran." Act I, sc. i. 

The Fair Jilt, having more commonplace material, has re- 
ceived less attention, yet it is better constructed, and, from 
the point of view of characterization, more interesting."^ As 
in Oroonoko great stress is laid on the absolute fidelity of the 
author to the facts, and again the story is biographical. 

Miranda was a beautiful flirt who lived, at the beginning of the narrative, 
in a religious house in Amsterdam. She fell in love with a young priest 
who repelled all her advances, whereupon the angry lady charged him with 
trying to seduce her and had him committed to prison. There she left him 
to languish while she carried on her flirtations and was wooed and won by 
a rich traveller who went by the name of Prince Tarquin. Time went on ; 
and the extravagant ways of the young couple soon used up their fortune. 
To get more money, Miranda determined to have her younger sister mur- 
dered, and for this purpose worked first upon the love of a youthful admirer, 
and then upon that of her doting husband. Both failed to kill the girl, 
but being detected in the attempt, were caught, condemned, and sentenced 
to death. The boy died, but by a slip on the part of the headsman and the 
connivance of a friendly crowd, Tarquin, though severely wounded, man- 
aged to escape. He was finally pardoned and returned to his native land, 
where he was joined by his still adored and now penitent wife, who had 
secured her own release by confessing all her nefarious practices and clear- 
ing the long-suffering friar. 

The heroine is so consistently and inhumanly villainous that 
she fails to be interesting, but the hero, who could love her 
through all the ills he endured on her account and finally 
could take her to his old father as the woman who had saved 
him from an ignominious death, is an unusual and original 

"^ The Fair Jilt; or, the Amours of Tarquin and Miranda. Complete 
Works, v. 201-87. The exact date is unknown, but the phrase ..." in 
the time when our King Charles of blessed memory, was in Brussels, in the 
last year of his banishment," puts it after 1685. There is an advertisement 
in the Term Catalogues for T. Tonson, Michaelmas, 1678, which strongly 
suggests the first part of the story. The Amorous Convert ; being a true 
relation of what happened in Holland. 



83 

type. Curiously enough, in drawing this magnanimous char- 
acter, Mrs. Behn did not think of him as fine and noble, but 
on the contrary, regarded him as a foolish victim of " the force 
of love." As in the old novelle there is no sympathy for the 
cheated. In this novel, even more than in the others, we find 
those little devices for producing a realistic effect which we 
are prone to regard as peculiar to Defoe. Take, for instance, 
the accurate description of the crowd of by-standers who 
" scrambled for some of the bloody saw-dust, to keep for his 
memory," or that of Tarquin preparing for execution : 

" and undressing himself with the help of his valet and page, he pulled off 
his coat, and had underneath a white satin waistcoat ; he took off his peri- 
wig, and put on a white satin cap, with a Holland one done with point 
under it, which he pulled over his eyes." 

Most " Defoeian " of all is the last sentence: " Since I began 
this Relation, I heard that Prince Tarquin died about three- 
quarters of a year ago." Such phrases as these explain Ma- 
caulay's astonishing statement that Moll Flanders, Roxana, 
and Colonel Jack were " in no respect . . . beyond the reach of 
Afra Behn."«i^ 

The novels of the cloak and sword, which compose the third 
group, of Mrs. Behn's fiction are three in number. The 
first. The History of Agnes de Castro, or the Force of Gen- 
erous Love,^' came out in 1688, and was followed the next 
year by The Nun; or, The Perjured Beauty,^^ a tale of false 
friends, lying lovers, duels, and mistaken identities, ending in 
the death of all the participants. About the same time was 
written The Lucky Mistake, a story of crossed loves, obdurate 
parents, and steadfast devotion, in which everything comes 
out right in the end and everybody lives happily forever after. 
Though the least powerful, it is decidedly the prettiest and 
purest of Mrs. Behn's novels. 

^* Cf. Life and Letters of Lord Macaulay, ed. Trevelyan, 1876, II. 385. 

^ Mrs. Behn's version of Agnes de Castro, Nouvelle Portiigaise, par J. B. 
de Brilhac, Amsterdam, 1685, appeared in Modern Novels, vol. iv, and was 
dramatized in 1696 by Mrs. Catherine Trotter. 

^ History of the Nun, or, the Faire Vow-Breaker, was the title of the 
first edition, 1689. 



84 

In these seven narratives, Mrs. Behn passed, for she can 
scarcely be said to have progressed, from humorous anecdotes 
of actual experience, to sensational, journalistic and supposedly 
true accounts of episodes which she had witnessed, and from 
these to deliberately fictitious stories in the Spanish manner. 
Her first attempts at fiction, which, as has been said are in the 
letters, resemble the first two groups and are almost as 
artistically perfect as the later and longer examples. To speak 
paradoxically, there is no " art " in any of them, which does not 
mean no artifice. At literary trickery, Mrs. Behn was an 
adept, but she never worked according to principles or selected 
and arranged her material to produce certain results and large 
effects. In common with most clever men and women of her 
gossip-loving generation, she possessed the gift of " tell- 
ing a good story," and circumstances forced her to develop 
this gift. Very naturally, she imitated the popular French 
stories from contemporary life, substituting for the continental 
material the experiences of her own circle of acquaintances, and 
for the indescribable " esprit," a flashy impudence. Yet she 
never progressed beyond the conversational and episodic stage. 
She elaborated episodes at length, she combined them, she 
connected them by bits of description, but she never completely 
merged them into one large plot. When relating incidents that 
had not come within the range of her observation, or analyzing 
emotions or expressing passion, she borrowed from the 
romances or current love-letters. Her interests were rather 
narrow and vulgar, her imaginative range was limited to 
matters of detail, she had no sense of mystery, and no con- 
science either moral or aesthetic ; but, as a compensation for so 
many limitations, she possessed keen powers of observation, a 
strong personality, a racy style, and the trick of producing veri- 
similitude, which with her unusual experiences have given her 
a reputation for originality. Original in the sense of creative, 
Mrs. Behn was not, but she knew how to make the most of 
what was at her command. She was a woman of strong feel- 
ings and of amazing vigor, all of which she threw into her 
work without the least restraint. The personal element is 
what makes her work so readable, for her vulgarity and gross 



85 

immorality are almost counter-balanced by her buoyancy and 
robust common sense. All her work is enlivened by a dash 
and impudence that give snap and life to her colloquial slip- 
shod style. It was just such vigor, just such vivid style that 
English fiction needed, and it is for these more than for any 
originality, more even than for the accident of Oroonoko, that 
she deserves a place in the history of the English novel. 

Mrs. Behn v^as succeeded by Mrs. Mary de la Riviere 
Manley who possessed rnost of her vices and few of her virtues. 

Mary de la Riviere Manley"* 

Of Mrs. Manley's life we know even less than of that of 
Mrs. Behn, for our chief source of information is her own 
"account of her life and times," which contains more fiction 
than fact. We do know, however, that she was born in 1673, 
and lived most of her disreputable life in and about London, 
supporting herself by writing scurrilous articles, indecent plays, 
and scandalous stories. Her father. Sir Roger Manley, was 
associated in some mysterious way with the Turkish Spy,*^^ so 
that Mrs. Manley may be said to have been predisposed in 
favor of pseudo-historical compilations of political and social 
gossip. There is, so far as I know, no careful bibliography of 
her works, some of which were, very wisely, printed anony- 
mously. The first of her productions to appear was her " let- 
ters" in 1696. In 1705, appeared an attack on the Duchess of 
Portsmouth, under the title The Secret History of Queen Zarah 
and the Zarazians, a conglomeration of tales of intrigue and 
personal scandal, generally attributed to her, to which additions 
were printed in 1711 and a key in 1712. This is the earliest 
example of this species of romance in English. In 1709, she 
published the notorious Secret Memoirs and Manners of 
several Persons of both sexes from the Nezv Atalantis in which 
she combined the secret-memoir and the ideal commonwealth. 
For this scandalous attack on the Whigs, she was arrested, and 
not discharged until 1710. So popular had it proved, however, 
that Mrs. Manley was induced to write continuations under 

" Cf. G. A. Aitken in D, N. B. 
'^^ Infra, p. io6. 



86 

various titles. The next year, 1710, in the Memoirs of 
Europe towards the close of the eighth century. Written by 
Eginhardiis, Secretary and Favorite to Charlemagne, she varied 
her presentation of scandal by using an historical setting. These 
Memoirs were dedicated to " Isaac Bickerstaff," i. e. R. Steele, 
whom she had attacked in the Nezv Atalantis.'^^^ In 1714 
appeared The Adventures of Rivella; or the History of the 
author of the Atalantis with secret memoirs and characters of 
several considerable Persons her contemporaries, which was 
reissued for the fourth time in 1724, as Mrs. Mauley's His- 
tory of her Life and Times. In addition to these narratives 
Mrs. Manley may have written Bath-I ntrigues'^^^ published post- 
humously in 1725, and a collection of short stories which were 
printed under the title of The Power of Love in Seven Novels. 

The eight Letters to a Friend, or A Stage-Coach Journey to 
Exeter. Describing the Humours of the Road with the Char- 
acters and Adventures of the Company, as it was reprinted in 
1725, is her most entertaining work. The journey is but a 
framework for stories of intrigue and formal " characters." 
The accounts of disgusting amours told by the beau and the 
sea-captain no longer divert us, but the attention is still held by 
the vivid picture of the journey, of the inns, of the customs 
of the road, and of the travellers, — the " impertinent beau," the 
hearty sea-captain, the prude, and last, but not least, the lively 
Mrs. Manley herself. In this narrative the style is on the 
whole, far superior to that in the novels, the secret histories, or 
the love-letters, although it must be admitted that even at 
her worst, Mrs. Manley is seldom dull. 

The Adventures of Rivella, Delivered in a conversation to the 
Young Chevalier d'Aumont in Somerset House Gardens by 
Sir Charles Lovemore^^'^ which appeared in 1714, is generally 
supposed to be autobiographical and may have been so in part. 
It shows considerable skill, and in spite of its scandalous char- 

^^' In the Tatler (No. 63), she was attacked by Swift, but later he spoke 
kindly of her and when she succeeded him as editor of the Examiner as- 
sisted her with several articles. In Atalantis Major, (1711) generally at- 
tributed to Defoe, the usefulness of the New Atalantis is sarcastically com- 
mented upon. 

*'" See bibliography under 1625. 

"=<= Sir John Tidcomb. 



87 

acter possesses certain romantic features. The central story, 
that of a poor girl who refused to marry her lover when she 
discovered that he could marry a rich woman, has idealistic 
possibilities, and the '' Portraits " of Rivella and her friends 
are quite in the manner of such romance heroines as Sappho 
and Clelia, while in the use of specific details Mrs. Manley 
suggests Defoe. 

Bath-Intrigues is an Hogarthian sketch of the famous resort 
during " the season," in the manner of the sketches of London 
by Ned Ward and Tom Brown. Of the seven novels in The 
Power of Love four are redactions of stories in Painter's 
Palace of Pleasiire^^ and it is highly probable that the remaining 
three, together with the novels in her other works, could be 
traced to the same or a similar source. Mrs. Manley con- 
densed the originals by substituting a direct style for Painter's 
lengthy periods, but otherwise she made no changes either in 
manner or method; indeed, she did not so much as change 
the names of the characters. Mrs. Manley never seems to 
have been interested in the motivation of her characters or the 
interpretation of her facts. In the New Atalantis, for exam- 
ple, there is material for many long novels of the Richard- 
sonian type but she contented herself with telling what hap- 
pened and how it happened, in a clear, concise, yet circumstan- 
tial manner. Take the story of Zara and Mosco: he had 
ceased to care for her, but she, like the poor Portuguese Nun, 
continued to "importune him with passionate appeals," until, 
in desperation he resolved to "break with her absolutely." 
He invited her to take a walk at twilight, they quarrelled, and 
she fell in the brook and was drowned — committed suicide, 
he said. As Mrs. Manley tells the story, we understand the 
situation perfectly, we can fairly see the orchard and the 

•* My attention was first called to Mrs. Manley's relationship to Painter 
by a note in the dissertation of Dr. Utter {Studies in the Origins of the 
English Novel, p. 150), to the effect that The Wife's Resentment is Painter's 
forty-second novel, Didaco and Violenta; the first of the two stories bear- 
ing the name of The Husband's Resentment Painter's forty-third, Of a 
Lady of Thurin; and The Happy Fugitives, his forty-fourth, Almerane and 
Adelesia. Subsequently I found The Fair Hypocrite to be Painter's forty- 
fifth, the well-known Duchess of Savoy. 



88 

brook, but we do not understand either Zara or Mosco. Or 
again, take the story of Mosco's brother Hernando, who, al- 
though married, ruined his ward by inducing her to enter into 
a "bigamous marriage" with him; and then, tiring of her, 
left her " to die of a broken heart." Here we are given a little 
more information: we learn Hernando had been married 
against his will by his father and had never loved his wife, and 
further, that he had carefully corrupted the mind of the youth- 
ful Louisa by his evil teachings. But all this information is 
given in an unsympathetic, objective manner. There is no 
sympathy, none of Mrs. Haywood's morbid pity, nor, on the 
other hand, is there any moral censure. In short, Mrs, Man- 
ley had neither the independence nor the power of Mrs. Behn, 
and her work is on the whole a harking back to the older type 
of novel or a lively relation of current scandal, which derives 
whatever value it may possess from its closeness to actuality. 
Mrs. Manley's successor, Mrs. Haywood, dealt with very sim- 
ilar material and often in much the same spirit and manner, 
but the change of temper which marked the opening of the 
eighteenth century, together with some new literary influences, 
is reflected in her work and may appropriately be treated in 
the next chapter. 



• CHAPTER III 

THE NOVEL (1700-1740) 

It will be recalled that in the introduction considerable 
emphasis was laid upon the change of taste that took place in 
the early years of the eighteenth century, and that this change 
was attributed to the reaction against the flagrant immorality, 
the license, and the harsh realism of the later Stuart period and 
to the contemporary rise in social and literary importance of 
the upper bourgeoisie. Propriety and compromise became the 
watchwords of a generation which, animated not by religious 
zeal but by weariness of the prevailing abuses, wished to make 
life purer and pleasanter. The ideal thus created was objective 
and ethical, making its appeal not through the imagination but 
the intellect ; it was a morality neither lofty nor inspiring but 
eminently practical. People were not concerned with spiritual 
theories or moral problems, but with conduct, the practice of 
morality in all the affairs of life. The formulation of this 
ideal may be studied to best advantage in the social treatises or 
conduct-books, which had in many ways an important bearing 
on the development of the novel. 

Throughout the sixteenth, seventeenth, and eighteenth cen- 
turies these books were very numerous, and between 1600 
and 1740 there must have been several hundred. The Cour- 
tier of Castiglione and The Prince of Machiavelli, which treat 
on a grand scale the ideal courtier and the ideal ruler, belong 
to the earlier Renaissance, and as early as 1600 had been super- 
seded by the more detailed treatises concerning the gallant and 
the lady of the French salons.^ A very few of these works 
were concerned with character as well as manners, a good 
many were controversial pamphlets concerning the feminist 

^As The Honour of the Ladies, Abraham Darcy, 1622; The Gallery of 
heroic Women, from the French of John Poulet, 1652. 



90 

movement,^ but by far the larger number were formal manuals 
of etiquette in which could be found specific directions for 
conducting a conversation, for entering a room, for pursu- 
ing a Platonic courtship, and for writing letters on all occa- 
sions.^ Various devices such as the " character," the dialogue, 
and the pseudo-letter,* were utilized to set forth this informa- 
tion, and in all cases the illustrative story was used to advan- 
tage. The advice thus given was always concrete and specific 
and based upon the usage of such literary assemblies as the Hotel 
de Ramhouillet and such English imitations as the circle of the 
" matchless Orinda." With the eighteenth century a great 
change came over these social treatises. In the first place, the 
select coteries no longer existed, and the ideal had to be 
adapted to the needs of a much more general public. In the 
second place, the interest in practical morality led writers to 
treat as much of general questions of character and conduct 
as of questions of etiquette. The rules of good form were 
made dependent upon the principles of right living. The social 
treatises are not to be regarded as fiction, but they played a 
most important part in its development ; indirectly, by setting up 
certain ideals to which the hero and heroine were made to 
conform, and directly, in the illustrative stories and model 
letters. In the eighteenth century these stories were greatly 
elaborated, and are in subject-matter and sentiment almost 
identical with the novel of manners. The Family Instructor 
and Religious Courtship of Defoe, The Letters Moral and 
Entertaining of Mrs. Rowe, the Familiar Letters of Richard- 
son, the Toiler, the Spectator, and Mrs. Haywood's Tea-Table 
contain numerous novels in embryo, and Pamela it will be 

" For ex., Pleasant Quippes for Upstart Newfangled Gentlewomen, by 
Stephen Gosson, 1596, A Strange Wonder; or, a Wonder in a Woman, etc., 
1642, The Woman as Good as the Man, 1671, Femina non est Homo, by 
Holltse (F. H.), and Walsh (W.), 1678, Dialogue concerning Women, by 
W. Walsh, 1 69 1, and the pamphlets of Mary Astell, c. 1700. 

^ Such as Domestic Duties by W. O. D. Gouge, The Accomplisht Woman, 
from the French, by Walter Montague, 1656, and The English Hous-Wife, 
by G. Markham, 1660. 

* The Lover's Secretary. . . . Being a collection of Billet-Doux, etc., 1692. 
Familiar Letters of Love and Gallantry, 1718. The Perfect Serving Maid, 
1692. 



91 

remembered was " Published in order to cultivate the Prin-- 
ciples of Virtue and Religion in the Minds of the Youth of 
Both Sexes." 

The Duchess of Newcastle** 

Some early examples of this type of hterature are to be 
found among the works of Margaret, Duchess of Newcastle 
(i624?-i674). She was one of the most interesting person- 
alities of the seventeenth century, and consequently her writ- 
ings, though lacking in grace and literary finish, have a 
certain attraction. A strong-minded woman was the Duchess. 
She dressed as she pleased, wrote as she pleased, thought as 
she pleased and said what she pleased, in scornful, and one 
might say studied, defiance of fashion, convention, Mrs. 
Grundy, and the feelings of her friends. As she was not 
given to sentimentalizing or to self -analysis, she never had the 
least doubt as to what was right and what was wrong under 
any circumstances, and, once she perceived her duty, she per- 
formed it with all possible ostentation. Two weaknesses the 
good lady had : an unmitigated admiration for the stolid 
Duke of Newcastle, and an inordinate passion for fame. She 
took herself and her ambition with a seriousness and earnest- 
ness that give a life and vitality to her pedantic and amateur 
performances, lacking in the more polished, but artificial, pro- 
ductions of her contemporary, Mrs. Philips. Her own indi- 
viduality with all its idiosyncrasies is impressed upon her 
twenty odd plays, her verse, her biography of the Duke of 
Newcastle, her autobiography, and the miscellaneous pieces 
of no particular genre which we are about to consider. Per- 
sonally, I always feel that the Duchess was vaguely dissatis- 
fied, that as Arnold said of Gray, though in a rather different 
sense, she " never spoke out," and that her innumerable pre- 
faces to the reader, her awkward, learned style, and her at- 
tempts to write in all possible forms are due to a restless 
seeking for better self-expression. 

The World's Olio, one of her earhest works (1655), con- 

*" C£. Article on " Margaret Cavendish " by J. Knight in D. N. B. 



92 

sists of a number of short essays on all sorts of subjects from 
the " Inferiority of Woman, morally and physically," to the 
" History of Language," the " Breeding of Children," " Court- 
ship," " Hospitality," " Fame," and a criticism of " Penelope's 
indiscretion in allowing herself to be courted." Incidentally, 
there are numerous references to contemporary manners and 
morals and a very vivid picture of the Newcastle household, 
in which it is safe to assume that the Duchess, for all her 
theories on the subordination of woman, ruled with a rod of 
iron. The following year (1656) appeared Nature's Pictures 
drawn by Fancie's Pencil to the Life, with a frontispiece rep- 
resenting the family circle " Telling of tales of pleasure and of 
witt." We are told in one of the Prefaces that " There are 
several feigned stories of natural descriptions as comical, 
tragical, and tragi-comical, poetical, romantical, philosophical 
and historical both in prose and verse. . . . Also there are 
some morals and some dialogues . . . and a story at the latter 
end in which there is no feigning." And in another preface 
we are told that the purpose is " to present virtue, the muses 
leading her and the graces attending her, and to shew vice is 
seldom crowned with good fortune ; and to defend innocency." 
But the stories are disappointing, being merely conventional 
romantic intrigues wrenched out of shape, so to speak, to 
afford a moral conclusion. For instance, there is the story of 
Assaulted and Pursued Chastity, in which a lady who had 
won a prince's affections declines his presents, shoots the too 
presumptuous suitor, and makes good her escape to a fantastic 
land, from which she returns at the head of some troops and 
finally marries the prince. In The Ant and the Bee and Wit 
and Wisdom are represented the fable and the moral tale. 

The CCXI Sociable Letters of 1664, are much more inter- 
esting. As the Duchess explained in a preface, " They are 
rather scenes than letters, for I have endeavored under the 
cover of letters to express the Humours of Mankind and the 
actions of a man's life, by the correspondence of two ladies 
living at some short distance." The idea was capital and one 
which later writers used to good purpose, but the Duchess 
gives too little space to the characters and episodes and too 



93 

much to censorious moralizing. We have some very interest- 
ing situations, sketches which have great possibilities of de- 
velopment, as for example, the story of " the gentleman that 
married his kitchen-maid " and the account of a family quarrel 
" ensuing upon a lady's refusal to serve on her table her 
husband's favorite dish, vulgar roast-beef." But the Duchess 
left them undeveloped. 

In the field of pure fiction her only contribution is a wild 
romance. The Biasing World (1665), in which she set forth, 
some truly astounding vagaries on the subject of physics. 
Her best narratives are the Biography of the Duke of New- 
castle*^ (1667) and her Autobiography*^ (1656), In her great 
desire to present the exact facts, to prevent all possible mis- 
understanding by numerous details and careful explanation, 
there is a suggestion of the realism of the next generation. 

Mrs. Elizabeth Rowe*° 

Mrs. Elizabeth Rowe (1674-1737) belongs in many respects 
to the same school as the Duchess of Newcastle, but this well- 
bred lady would have been unutterably shocked by her plain- 
spoken predecessor. Mrs. Rowe undertook to inculcate prin- 
ciples of right living by means of sentimental piety. In 1728 
appeared Friendship in Death in tiventy letters from the Dead 
to the Living, in which the recently departed give their friends 
sound advice, timely warnings, and glowing accounts of heaven. 
There is nothing mysterious or even impressive about these 
ghosts, who are of the world, worldly. In fact, the Letters 
do not differ essentially from the superior, but less popular, 
Letters Moral and Entertaining, which appeared in three in- 
stallments, in 1729, 1 73 1 and 1733. In these epistles, sup- 
posedly written to intimate friends, we have some interesting 
stories told by one of the participants, usually the heroine. 

** The Life of William Cavendish, Duke, Marquis, and Earl of New- 
castle, Earl of Ogle, Viscount Mansfield and Baron of Bolsiver, of Ogle, 
Bothal, and Hepple, 1667, 2d ed. 1695. 

*" True Relation of the Birth, Breeding and Life of Margaret Cavendish, 
Duchess of Newcastle, Written by Herself. Appended to the first, but not 
the later, edition of Nature's Pictures. 

*'=Cf. Sidney Lee in the D. N. B. 



94 

There is no differentiation of character, very little subjective 
emotional analysis, and but slight variety in scenes and epi- 
sodes. Most prominent among the stock themes is the story 
of a young woman who having retired to the country to re- 
cover from an unhappy passion was led by solitary meditation 
" to religion," and shortly thereafter, was wooed and wed by a 
worthy and devout young man, " a match far above her expec- 
tations." Then there is the story of the pious country maid 
who was preferred by the wealthy lord to the court beauties 
on the score of her " virtue." Also, there is the tale of the 
rake who was led to repent and to reform by his passion for a 
pious woman, and was rewarded for his improvement by 
winning her hand and her wealth. And finally, there occurs 
the story of the pious girl who fell into a decline after the 
death of her lover and soon joined him in immortality. The 
heroines are all sensitive, emotional beings, less sophis- 
ticated than Pamela, but not unmindful of the things of this 
world. In their cult of nature, morbid sensibility, and senti- 
mental piety they are closely akin to the heroines of the Rous- 
seau school and to the Elsie Dinsmore of our own day. The 
hero is the self-satisfied prig familiarized to us by Richardson 
and his successors. 

The popularity of Mrs. Rowe's prose and verse was very 
great. Her Friendship in Death reached its third edition in 
1733, its fifth in 1738, and was continuously printed until 1816. 
Her verse History of Joseph, first printed in 1736 was in its 
fourth edition in 1744, the Devout Exercises of the Heart, 
edited by her admiring friend Dr. Watts, in 1737, was many 
times reprinted until 181 1. In 1739, appeared a collection of 
her Miscellaneous Works in Prose and Verse, which was re- 
printed in 1744, 1750, 1756, 1772, and several times thereafter, 
while as late as 1796, a still fuller collection was made. There 
were two French translations of Friendship in Death, one in 
1740 and the other in 1753. Moreover, she was most highly 
esteemed by the literary men of the time. Prior was won by 
her slim volume of mildly sentimental verse. Poems on Sev- 
eral Occasions, issued in 1696. Dr. Isaac Watts wrote of 
"her divine poems," and Pope thought so highly of her elegy 



95 

on her husband that he appended it to the second edition of 
Eloisa to Ahelard (1715). Klopstock and Wieland referred 
to " die gottHche Rowe," " die himmhsche und f romme 
singer." Finally, Dr. Johnson (Boswell, I, 312), calls her the 
earliest English writer to apply with success ' the orna- 
ments of romance to religion. The only writer who had made 
a like endeavour was Robert Boyle in the Martyrdom of St. 
Theodora and he failed.' 

We find the themes and the sentiments of these Letters present, 
not only in other social treatises but also in the bourgeois trag- 
edy and comedy, and in the many stories and sketches in such 
periodicals as the Spectator, Tatler, Lover and Tea-Table. In 
the writings of Steele and Addison we have the most perfect 
expression of the ideal of the age in its finest conception. 
There we find the perfect urbanity, the sound morality, the 
staid composure, and the mild sentimentality (well within the 
bounds of reason) to which all men aspired. " To instruct 
and to amuse " was the purpose of these papers, and to that 
end, the authors preached both directly and indirectly, told 
illustrative stories, and wrote " characters " typifying the var- 
ious virtues and vices. The stories, without exception, are 
obviously didactic, and the authors showed much ingenuity and 
narrative skill in utilizing Oriental tales, in adapting picaresque 
stories and popular histories, and in turning to good account 
letters from pseudo-travellers and sketches from domestic life. 
In the Sir Roger de Coverley Papers, all that is needed is a plot 
to make a novel of manners, but it is the plot, the series of inci- 
dents, which is the essential feature of every narrative — the 
characters, the setting, the dialogue are important, but never- 
theless, subordinate elements. The periodicals of the Spec- 
tator type were a most important factor in accelerating the 
development of the novel of daily life, not so much on the 
score of the narratives they contained, as because they afi"orded 
an opportunity for the publication of the short minor forms. 
Of the numerous devices which contributed to the novel we 
have already commented upon the memoir, the letter, and the 
social tract, but the " character " and the dialogue still call for 
a few words. 



96 

In the words of Professor Cross,^ the character-sketch "as 
conceived by Ben JonsonandThomasOverbury " (andwemay 
add Joseph Hall) "who had before them a contemporary 
translation of Theophrastus, was a sketch of some person, 
real or imaginary, who embodied a virtue or a vice or some 
idiosyncrasy obnoxious to ridicule. One character was set 
over against another, and the sentences descriptive of each 
were placed in the antithesis which the style of Lyly had made 
fashionable." In other words, it was a device for attacking 
the " humours " of the age in light satiric spirit, and such it 
remained during the first quarter of the seventeenth century. 
Shortly thereafter, it shared® with all other literary forms the 
fate of being utilized by theological and political contro- 
versialists. With the Restoration there was a return to lighter 
vein, and follies and foibles instead of vices and theories 
became the subject of attack. In the meantime, the expository, 
antithetical method was adopted by the romance writers in 
their perfectly serious portraits of individuals, and these in 
turn, modified the later development of the character-sketch. 
It was still further modified by being combined with the essay, 
the letter, and the memoir, by being set in a descriptive or 
narrative framework, and by being grouped with other " char- 
acters."^ Practically every type of character-sketch can be 
found in the Tatlcr and Spectator; in them can be traced every 
stage of its development from the short, objective, impersonal 
" anatomy " of a type, to the sympathetic delineation of a typ- 

^ Cross, Development of the English Novel, p. 24. 

' For ampler treatment of this subject consult H. Morley, Character Writ- 
ing of the Seventeenth Century, Carisbrooke Library, 1891 ; C. S. Baldwin, 
" The Relation of the Seventeenth Century Character to the Periodical Es- 
say," Pub. Mod. Lang. Ass. of America, 1903, xviii, and 1904, xix, and 
" Character Books of the Seventeenth Century in Relation to the Develop- 
ment of the Novel," Western Reserve Bulletin, Oct., 1900, and C. N. 
Greenough, Studies in the Development of Character-Writing in England, 
Unpublished Harvard Dissertation, 1904. Dr. Greenough is now revising 
his dissertation which he hopes to publish within a short time as The 
Character in the series Types of Literature. 

'' Les Caractdres de Theophraste traduits du Grec, avec les Caracteres ou 
les Moeiirs de ce siecle, by J. de la Bruyere, Paris, 1688, and translated into 
English in 1708, was a particularly potent factor. 



97 

ical individual under many different circumstances. That the 
noveHsts learned much from the " characters," there can be not 
the least doubt. In the narratives of Mrs. Behn, Mrs. Manley, 
Mrs. Haywood, Richardson, Fielding, and their contempo- 
raries, there are numerous formal " characters," and the 
method has survived in the novels of Scott and Dickens, and 
indeed has not died out to this day. 

The dialogue, although for many years a favorite device in 
social tracts and news-pamphlets,'^^ was not so influential. 
During the Restoration the Dialogues of Lucian were in high 
favor and stimulated translations and imitations such as Tom 
Brown's Dialogues of the Dead and the Living and the Dead.^ 
These in many ways suggest the Imaginary Conversations of 
Landor, and although they lack entirely the finesse, poetry, and 
exquisite phrasing of the latter, are by no means uninteresting 
and sometimes show not only a keen sense of the dramatic 
possibilities of the situation, and a lively sense of humour, but 
also a comprehension of the characters. Particularly good are 
the dialogues of " Dido and Stratonica," " Paracelsus and 
Moliere," " Cortez and Montezuma," and " Mrs. Behn and a 
Young Actress." Better than any of these are Prior's four 
Dialogues of the Dead/ of which perhaps, the best is the dia- 
logue between " Mr. John Locke and Seigneur de Montaigne " 
but the one between " the Vicar of Bray and Sir Thomas 
Moor " is a close rival. The characterization is admirable, 
and the style easy, natural, and witty. Swift's graphic Polite 
Conversation is a series of little scenes that might well have 
been presented on the stage. Novelists took lessons from such 
dialogues in handling conversations so that the speeches should 
be in character, and so that shades of meaning should be con- 
veyed to the reader without editorial explanation. 

While these contributory forms were being perfected, con- 
siderable progress was being made in modifying the narrative 

''" As in Tutchin's Dialogue between a Dissenter and the Observator con- 
cerning the Shortest Way mth Dissenters. 

* Cf. Modern Novels, vol. xii. 

' See Dialogues of the Dead and other Works in Prose and Verse, ed. 
A. R. Waller, 1907. 
8 



98 

to suit the new social conditions, and to make it conform to the 
new moral standard. In the old novelle the merchants and their 
wives often figure, but the entire interest centers on the epi- 
sode, the participants are fixed types. Moreover, the pseudo- 
classic canon of dramatic usage, that kings and princes alone 
were suitable subjects for tragedy, or in other words for 
serious treatment, was reflected in the contemporary romances 
by the exclusion, except in comic scenes, of all characters not 
of royal or at least gentle blood, and by the tendency to make 
comic all episodes and novels of intrigue in which the bour- 
geoisie figured. The serious and sympathetic portrayal of the 
life of the middle class was essential for the perfection of the 
novel of manners, and for that reason such early works of the 
kind as the mediocre " histories " of Mrs. Haywood, Mrs. 
Barker, and Mrs. Aubin deserve special comment, 

Mrs. Eliza Haywood^** 

We know very little about the facts of Mrs. Haywood's life. 
She was born about 1693, and like her predecessors, Mrs. 
Behn and Mrs. Manley, led a disreputable life in London until 
her death, in 1756. Like them, too, she incurred the hate of 
Pope, and it was in retaliation for his slanderous remarks that 
she published her Female Dunciad (1729). Likewise, she 
incurred the wrath of Swift, who described her as " the in- 
famous scribbling woman." Scribble she certainly did, for in 
the thirty-six years from her first publication, about 1720, she 
wrote at least twenty novels, most of the contributions in the 
Female Spectator, some plays, some poems ; she translated many 
things from the French, and she published much personal and 
political gossip. It is on the fiction, however, that her small 
claim to fame rests. The exact date of the publication of many 
of her works is unknown, but it seems highly probable that the 
pseudo-histories like The Memoirs of a Certain Island Ad jacent 

" Cf. Sidney Lee, D. N. B. No detailed and careful work upon Mrs. Hay- 
wood has been written and her bibliography is in a most bewildering state. 
Some of her works have been lost, others are extant only in what purport 
to be second or third editions, while her political pamphlets are more or 
less confused with those of Defoe and other writers. 



99 

to Utopia (1725), and the Secret History of the Present In- 
trigues of the Court of Caramania (1727), came early in her 
literary career. The short novel of intrigue, somewhat on the 
cloak and sword order, was always a favorite with Mrs. Hay- 
wood, and her name is usually associated with such licentious 
stories as Lasscllia, or, the Self -Abandoned; The Rash Re- 
solve; The Fatal Secret, or. Constancy in Distress; and The 
British Recluse. These novels differ from those by Mrs. Behn 
only in being less brilliant and in exhibiting an unhealthy 
pathos. But Mrs. Haywood by no means confined herself to 
such tales : she followed the fashion of the Portuguese Letters 
in Letters of a Lady of Quality to a Chevalier (1724), of the 
Oriental and didactic stories in Tlie Adventures of Evaii, prin- 
cess of Ljaveo (1736)," and in later life she closely imitated 
Richardson in A Present for a Serving-Maid (1741), and less 
directly in her best novels. The History of Miss Betsyf^ 
Thoughtless (1751), and Jenny and Jessamy (1753), while 
the Epistles for the Ladies (1749-50) show the influence of 
Mrs, Rowe. Yet long before the publication of Pamela, Mrs. 
Haywood had made considerable progress in the sympathetic 
recital of the conduct and emotions of ordinary men and 
women under trying, and unusual, but still plausible conditions 
of domestic life. Idalia; or, the Unfortunate Mistress which 
appeared in 1723 or thereabouts, suggests in its opening scenes 
Clarissa Harlozve. 

The beautiful wilful Idalia, annoyed by her father's prohibiting her to 
communicate with the attractive rake Florez, secretly corresponds with him, 
and becomes involved in an amour without really caring for the man. He 
lures her to his house and there betrays her to his lord. Other men 
become involved. One of them seizes the helpless victim and carries her 
off to a lonely country place, and there, Part I, concludes. Part II is 
quite different, in fact, it is a wild romance, in which the heroine, while 
eloping from the said country house, is seized by robbers and separated from 
her lover. Her career is then not unlike that of a Greek heroine, for she 
wanders over all Europe, is captured by pirates who tell her Oriental tales, 
and finally, after a chapter of misfortunes, discovers her quondam lover 
living happily with his wife. At this point the author returns to realism 

^* Reprinted in 1741 as The Unfortunate Princess; or, the Ambitious 
Statesman, 



100 

and afifectingly describes the perplexity of the man and the grief of the 
two women, the wife's attempt to poison both her husband and her rival, 
and Idalia's forbearance. The Pope, being called upon to settle the matter, 
decides that both women shall enter nunneries. 

Part I is decidedly the better and is really remarkable for the 
elaborate and sympathetic analysis of Idalia's feelings and be- 
havior. In 1726, Mrs. Haywood progressed still further in 
The Mercenary Lover, '^'^^ reprinted with the Padlock in 1728. 
In the first, we have the story of the ruin of a pure-minded girl 
by the deliberate machinations of a bland villain, followed by 
her discovery of his vileness, her resentment, her murder, and 
the consequent public disclosure and punishment of his crime. 

Althia and Miranda were two rich country heiresses and consequently 
much sought for by eligible young men. On the proud and reserved Althia 
no suitor made an impression, but the younger sister, the gay Miranda, was 
wooed and won by Clitander, a young London merchant. To London the 
couple went to live and with them took Althia. Clitander was a mercenary 
soul, who had married Miranda purely for the sake of obtaining her money, 
and he soon set himself to the acquiring of Althia's fortune as well. To 
that end he corrupted her with evil books and soft speeches and finally 
ruined her. Then, having won her entire confidence, he suggested that she 
make her w;ll, to which she having consented, he substituted a deed of gift 
in his own favor, intending to murder her and have it look like suicide. 
Unfortunately, she insisted upon reading the paper, and discovering the 
cheat, threatened to reveal all and even went so far as to write letters, but 
before they were dispatched he regained her confidence and took the oppor- 
tunity to poison her. Miranda, fearing some foul play had killed her sister, 
though never for a moment suspecting her husband, made a thorough inves- 
tigation and brought the whole plot to light. On the strength of it she 
secured a divorce, so that the mercenary Clitander lost all " the money for 
which he had ventured his soul." 

The girls are rather well drawn and the slow change in Althia 
is portrayed with a power suggestive of Richardson, but the 

"^ This work is not attributed to Mrs. Haywood by any authority that 
I have consulted. According to the 1726 title page it is " By the Author of 
the Memoirs of an Island Adjacent to Utopia," [E. H.], and according to 
that of 1 728 " By the author of Reflections on the various Effects of Love," 
The B. M. cataloguers attribute it to Mrs. H. in the 1726 copy, but not in 
the general bibliography. Certainly it seems more reasonable to attribute 
it to her than to Mrs. Manley, as is sometimes done. Cf. The Article on 
" Mrs. Manley " by G. A. Aitken in D. N. B. 



101 

characters have no personality. The Padlock, the com- 
panion picture of " virtue rewarded " is, as in many other cases, 
far inferior to *' vice punished." 

The youthful Violante was married to the old Lepido, and sincerely 
intended to make him a faithful wife, but his jealousy and cruelty drove 
her to such desperation that she finally yielded to the persuasions of an 
old black slave and granted an interview to an unknown, but faithful, lover. 
That night the lover appeared and carried her off to the home of his cousin, 
where she lived virtuously until Lepido obtained a divorce, after which she 
married the lover and lived happily ever after. In the course of the story 
it develops that the hideous old slave was really the lover who had assumed 
that disguise in order to obtain access to his mistress. 

The plot, names, and setting might be those of an old Italian 
or Spanish novel, and in all likelihood go back to some such 
source, but the elaborate expositions of Violante's feelings and 
the emphasis upon her " virtue " give a different impression. 
The Disguised Prince; or, the Bectutifid Parisian, which ap- 
peared the same year, and which may, or may not, be as the 
title page says '' from the French," is another novel of manners 
with romantic features. Here again the characters are human 
but not individualized. 

Blanche Bonin, a banker's daughter, corresponded with Samuel Solico- 
fane, son of a German banker and friend of her father in order that the 
young man might improve his French. It happened that the German 
prince of that province wished to send his son to Paris to be educated, and 
learning of the Bonins from the banker, seized the opportunity to send his 
son under the name of Samuel. Blanche by her many wiles gained his 
love; but before he had revealed to her his identity, he was forced to 
return home. Shortly thereafter he heard she was married, and without 
investigating, judged her false and utterly renounced her. After a time, 
she, who had not married at all, became alarmed at his long silence and 
went to Hanover to investigate. As luck would have it, she arrived just 
in time for the funeral of the real Samuel, and supposing it her lover, 
retired from the world. To add to her grief she received a spiteful note 
from her lover (whom she supposed dead) in which he declared he ' cared 
not a jiffy that she had been faithless, for he never had cared for her any- 
way.' So great was her grief that she was ill for months. Just as she was 
recovering she received a letter from another suitor in the handwriting of 
her lover which, as she supposed him to have been dead a year, caused 
her no end of surprise and confusion. Unfortunately the author did not 
bring the story to a conclusion, or, at least, I have been vinable to discover 
the promised second part. 



102 

The rest of Mrs. Haywood's novels require no separate 
comment for they dififer but sHghtly from the conventional 
novelle. The Surprise; or, Constancy Ren'arded is dedicated 
to Steele, and I cannot help wondering whether that author 
found the story of the girl who won back her faithless lover 
particularly to his taste. Alinda, endowed with beauty and 
wit, was sought in marriage by both Ellmour and Bellamant, 
and being in doubt as to which to choose, she invited her 
cousin, Euphemia, to spend a week or so with her and give an 
opinion on the two suitors. Euphemia, although neither so 
handsome nor so witty as Alinda, made up in good humour and 
wealth what she lacked in looks, and had many suitors of her 
own, but the only one for whom she cared had deserted her 
for a great beauty. Alinda discovered that this recreant lover 
was Bellamant and immediately resolved to take Ellamour for 
her husband. Bellamant continued in his career of duplicity, 
but before long ended in a debtor's prison, where he repented 
at leisure and above all regretted his " unhandsome treatment " 
of Euphemia. The news of his misfortune had reached that 
lady's ears, and she decided to save him. Disguised as a man, 
she visited him in prison, paid his debt, and being assured of 
his change of heart, revealed herself to him. The Princess of 
Ijaveo is a curious little piece, so clumsy and crude as to be 
quite worthless, yet with its wicked vizier, evil genii, good 
spirits, enchantments, terrible storms, and cynical explanatory 
notes, it is curiously anticipatory of Beckford's Vathek and 
the Gothic romances. Jenny and Jessaniy and Miss Betsy 
Thoughtless fall outside the limits of this study, but in pass- 
ing, it should be noted, that they are not close imitations of 
Richardson's novels. They do, it is true, show the influence 
of the new fiction very markedly, but the heroines, and espe- 
cially Betsy, are more closely related to the impulsive Moll 
Flanders than to the calculating Pamela or refined Clarissa. 

The Female Spectator (1723), and the Tca-Table (1725), 
contain much material from domestic life. The latter criticises 
very sensibly the absurd sentimentality then current. In this 
connection the story of Arabella, who " having been married 
according to her wishes died of grief through thinking of 



103 

future misfortunes " is particularly noteworthy. Mrs. Hay- 
wood's style has not the brilliancy or dash of Mrs. Behn's, but 
is vigorous, natural, and colloquial to a fault. At its best it 
resembles that of Defoe,^^'' but is not sustained at that level. To 
conclude, Mrs. Haywood's fiction does not comprise anything 
as good as Oroonoko or The Fair Jilt, but from the point of 
view of the literary historian it is important, since it reflects the 
growth of sentiment and tragic pathos and shows an advance 
both in the subjective analysis of emotions and in the writing 
of the " domestic history." 

Mrs. Jane Barker 

Less important and less interesting than the narratives of 
Mrs. Haywood are those of Mrs. Barker. Of Mrs. Barker 
herself we know nothing. Even Dr. Stanglmaier^^ who has 
made a special study of this authoress has been unable to un- 
earth any information about her life. From various allusions, 
autobiographic passages, and numerous references to " Luca- 
sia,"^^ we may infer that in her girlhood Mrs. Barker was one 
of the younger members of that circle of country gentry which 
had formerly surrounded Mrs. Katherine Philips. To these 
early associations, no doubt, may be attributed her admiration 
for " divine Orinda, queen of female writers " and her lifelong 
partiality for the elaborate French romances. Her name first 
appears as early as 1680, on the title page of Poetical Recrea- 
tions: Consisting of Original Poems, Songs, Odes, etc., with 
Translations: in Two Parts: Part I. Occasionally Written by 

"'' In this connection it is interesting to note that Mrs. Haywood was 
associated with Defoe in the " Duncan Campbell literature," although in 
just what way is not clear. It is not at all certain in some instances 
whether a pamphlet is by Defoe or by Mrs. Haywood. 

^ For more detailed discussion see Mrs. Jane Barker: Ein Beitrag zur 
Englischen Literaturgeschichte, by Karl Stanglmaier. Munich, 1906. Dr. 
Stanglmaier was chiefly concerned with the verse, which he has elaborately 
analyzed. 

^^ Mrs. Anne Owen, to whom " Orinda " addressed some of her poems. 
Cf. Upham, French Influence in English Literature, p. 356. From allusions 
in her later works we know Mrs. Barker was on more or less intimate terms 
with Mrs. Elizabeth Rowe. 



104 

Mrs. Jane Barker, Part II, By Several Gentlemen of the Uni- 
versities and others. The conventional and proper verse 
scarcely deserves the praise which one admiring "young gentle- 
man " was impelled to address to the fair authoress : 

" Thy Lines may pass severest Virtue's Test, 
More than Astraea's soft, more than Orinda's chaste." 

Thirty-five years elapsed before Mrs. Barker again appeared 
in print, and then it was not as a po€t but as a writer of fiction. 
In 1715 Curll published her Exilins; or, the Banished Roman, 
which was followed by a translation of Fenelon's The Christian 
Pilgrimage in 1718, by the Amours of Bosvil and Galesia in 
1719, and by seven romances^* and two collections of miscel- 
laneous pieces before 1726. After that Mrs. Barker's name 
appears no more except on reprints of her popular romances. 
Exilius'^^ was " written after the Manner of Telemachus, for 
the instruction of some young ladies of quality." Since, in the 
opinion of Mrs. Barker " a learned lady was as ridiculous as a 
spinning Hercules," the edifying discourses on history, govern- 
ment, philosophy and the like, were subordinated to innumer- 
able discussions on how a young lady should manage her 
suitors, on filial obedience, and on points of etiquette. The 
plot is a wretched medley of all the absurd adventures and 
devices to be found in the romances. But though the adven- 
tures are wild, the heroines are characterized by a matter-of- 
fact common sense worthy of Pamela. One princess upon 
being told that the gods would surely not disapprove of her 
elopement, since the oracle had replied that 

" The Gods will never disapprove 
The sacred Bonds of mutual love," 

responded, that " Whatsoever the Gods might seem to consent 
to in their dubious oracles, a young lady ought to interpret 

"These comprise: Celia and Marcelhis, or the Constant Lovers; The 
Reward of Virtue, or, the Adventures of Clarinthia and Lysander ; The 
Lucky Escape, or the Fate of Ismenus ; Clodius and Scipiana, or the Beau- 
tiful Captive; Piso, or the Lewd Courtier; The Happy Recluse and The 
Fair Widow. 

"Reprinted in 1726, 1736, 1743 and translated into German in 1721. 



105 

their meaning according to the dictates of filial obedience." 
The misguided Scipiana has a way of interspersing moral re- 
flections with an account of her past experiences that suggests 
Moll Flanders. 

" I gave under my own hand the certificate of my folly, and the signed 
testimonials of my indiscretion, for sure there is not a greater imprudence 
than for a young lady to write to her lover ; I am now sensible it ought 
never to be done, no not even on the account of denials or reprimands." 

And later she remarks: 

" For 'tis certain no reproach is like self-reproach, nor any misfortune 
so hard to undergo as what we draw upon ourselves." 

Mrs. Barker's other romances, though they were not so 
obviously educative, resemble Exilius. In them all, we find the 
wildest romance mingled with the most matter-of-fact expres- 
sion of commonplace moral sentiments and practical rules of 
behavior. In two of her later works: A Patchivork-Screen 
for the Ladies, Or Love and Virtue Reeommended (1723), and 
The Lining of the Patch-Work Screen (1726), she abandoned 
romance for realistic and " instructive " novels. She declares 
the manner to be entirely new, but it is merely the old device 
of telling stories. The tales, in spite of Mrs. Barker's constant 
lauding of the old romances on the score of their purity, are 
not above reproach from the point of view of propriety, not to 
say of morality. And such morality as she taught, is of that 
peculiarly immoral variety that contents itself with keeping 
within the letter of the law. Mrs. Barker taught virtue most 
often by putting vice in the pillory, as in the " Story of Jack 
Mediant in which the quintessence of wickedness is designed 
and practised." More amusing and most enlightening as re- 
gards Mrs. Barker's idea of virtue and its immediate tangible 
reward is the story of Capt Manley. 

Captain Manley, a hopeless rake, unhappily married to a jealous wife who 
refused to give him sufficient money to continue his wild life, went to sea 
to seek a fortune. He experienced nothing but storms and disasters, and 
finally fell into the hands of the Turks and was made a slave. There he 
remained in servitude for some time, till his widowed mistress fell a victim 
to his charms, and offered him wealth and freedom on condition that he 
would marry her. Although the temptation was great, the Captain, warned 



106 

in a dream by three dead companions, confessed that he was already married, 
and that the laws of the Christians would not permit him to have more than 
one wife at a time. Immediately was his virtue rewarded, for not only did 
his mistress free him and supply him with funds, but on his return to 
England, he found that his wife had died and at " the very time of his 
honorable confession made him a legacy." 

Mrs. Penelope Aubin 

Another contemporary of Mrs. Haywood, Mrs. Penelope 
Aubin, brought the novel closer to the narrative of adventure. 
Of her life nothing at all is known, and she is not so much as 
mentioned in the Dictionary of National Biography. Her 
name first appears in 1721 on the title pages of two strange 
medleys of romance, novel of manners, and popular his- 
tory ; namely. The Life of Madam de Beaumont and The Strange 
Adventures of the Count de Vinevil and his Family, and we 
find it again in 1722 on The Noble Slaves and The History of 
Genghisen/^ still again in 1726, on The Life and Adventures 
of the Lady Lucy, in 1727, on a translation of the Illustrious 
French Lovers, and finally in 1729, on another translation from 
the French, The Life of the Countess de Gondes. These nar- 
ratives are highly didactic and are not merely moralistic, for in 
one and all there are strong pleas for the Catholic Church. Mrs. 
Aubin confessed to a great admiration for Robinson Crusoe, 
and we find her imitating it in shipwrecking her characters 
on uninhabited islands and putting them through most extra- 
ordinary adventures which she strove to describe with all the 
realism and circumstantial evidence of Defoe. In addition, 
she interwove one or more rather romantic love stories. The 
most notable feature of her narratives is that in each and 
_ every one there recurs the realistic story of a young girl or 
I virtuous woman resisting the advances of a charming rake in 
favor of the " perfect lover," and being rewarded by worldly 
goods for her " virtue," while her wicked tormentor is brought 
to a horrible and disgraceful death. This edifying tale is 
localized in a romantic setting such as the Orient, the fast- 
nesses of Ireland, or the mountains of Wales. 

"Translated from the French of Petis de la Croix. Although full of 
anecdotes and marvels, it was presumably based on fact, and not intended 
as fiction. 



107 

A very good idea of the varied attractions of Mrs. Aubin's 
narratives may be gathered from the lengthy descriptive title 
pages. ^^ Her best work, take it all in all, is The Life and 
Adventures of the Lady Lucy, in which some of the descrip- 
tions, such as the sack of the castle after the battle of the 
Boyne, have real merit and are probably the records of an eye- 
witness. In the preface to the reader, Mrs. Aubin states that 
philosophy of life of which her novels are the exemplification. 

" She [the vicious woman] will be unfortunate in the end, and her death 
(like Henrietta's) will be accompanied with terrors, and a bitter repentance 
shall attend her to the grave ; whilst the virtuous shall look dangers in the 
face unmoved, and putting their whole trust in the Divine Providence shall 
be freed from the miseries of this life, and go to the eternal repose."* 

The translations are less romantic than her original work, 
but are otherwise in the same style. The only notable story 
in The Illustrious French Lovers^''^ is that of M. de Contamini 

" The Life of Madam de Beaumont, a French Lady ; Who lived in a Cave 
in Wales above fourteen years undiscovered, being forced to flye France 
for her religion, and of the Cruel Usage she had there. Also her Lord's 
Adventures in Muscovy where he was prisoner some years, with an Account 
of his returning to France, and her being discovered by a Welsh Gentleman, 
who fetches her Lord to Wales ; and of many strange accidents which befel 
them, and their daughter Belinda, who was stolen azvay from them and of 
their Return to France in the year 1718. 

The Strange Adventures of the Count de Vinevil and his Family. Being 
an account of what happened to them whilst they resided at Constantinople. 
And of Mile. Ardelisia, his daughter's being shipwrecked on the Unin- 
habited Island Delos in the Return to France, with Violetta, a Venetian 
Lady, the Captain of the Ship, a Priest, and five Sailors. The manner of 
their living there, and strange Deliverance by the arrival of a Ship com- 
manded by Violetta's father. Ardelisa's Entertainment at Venice and safe 
return to France. 

The Life and Adventures of the Lady Lucy, the Daughter of an Irish 
Lord, who married a German officer, and zfas by him carried into Flanders, 
where he became jealous of her and a young Nobleman, his Kinsman, whom 
he killed, and afterwards left her wounded . . , in a Forest. Of the Strange 
Adventures that befel both him and her afterwards, and the wonderful 
Manner in which they met again after living eighteen years asunder. 

"" Preface, p. 10. 

"'' The Illustrious French Lovers ; Being the True Histories of the Amours 
of Several French Persons of Quality, In which are C07itained a great 
Number of excellent Examples and Rare and Uncommon Accidents ; shewing 
the Polite Breeding and Gallantry of the Gentlemen and Ladies of the 
French Nation. 



108 

which proved, according to the author, that " a poor virtuous 
maid may get a good husband." More entertaining and in- 
structive, is The Life of the Countess de Goyidez}'"^ 

On the whole, the work of Mrs. Aubin is an interesting at- 
tempt to introduce into one narrative the varied attractions of 
the romance, the reaHstic novel, the Oriental setting, and the 
accurate description, and is significant in that the theme of 
the struggle between an innocent girl and a conscienceless rake 
receives considerable attention. Similar tendencies are re- 
flected in a few sporadic works which are individually better 
than any of the narratives of Mrs. Aubin, Mrs. Barker, or 
even Mrs. Haywood. 

Occasional Pieces 

An attempt to combine the realistic love story and the novel 
of incident somewhat on the plan of Mrs. Avibin is to be found 
in the Unhappy Lovers; or, the History of James Welston, 
Gent., a most curious mixture of love and travel, with a satiric 
instead of a moralistic purpose. Decidedly better, is The 
Lover's Secretary; or, the Adventures of Lindamira, A Lady 
of Quality. Written by herself to her friend in the Country. 
In XXIV Letters. Reznsed by Mr. Thomas Brozvn, the sec- 
ond edition, London, 1715.'^^ This is the very realistic story 
of various misunderstandings, quarrels, and reconciliations of 
a young lady and her lover, as described by the lady herself. 
The first fourteen letters are decidedly the best, the remaining 

"* The Life of the Countess de Gondez. Written by her own Hand in 
French. First she was a great beauty and chose an old count for her hus- 
band when she zvas not eighteen, and then she fell in love ivith a young 
lord, who was handsome and charming, and pursued her with all the arts 
of love, yet she kept her virtue, preserved her reputation, and never was 
guilty of one slip for above three years that her lord lived with her. But 
what is yet more extraordinary, she mourned him dead, without hypocrisy, 
kept still up to the dignity of her character, and refused to marry the man 
she loved, till she had paid tribute of a long mourning, more than duty 
required, for her deceased husband; and that being past, and her lover 
making some false steps, she conquered her passion and preferred a nobler 
and more constant lover before him. 

" There is no record of a first edition. I imagine that it is a modified 
and amplified version of some French work. 



109 

eleven being commonplace in material and extravagant in style. 
The spirit and style of the first letters is that of the narrative 
comedies, full of dramatic situations and humorous descrip- 
tions of incidents and characters. Mr. Spintext and Aunt 
Xantippe are delightful caricatures, and such scenes as that 
in which the irate lady discovers her supposed lover to be 
married to her niece are essentially dramatic. 

In the opening letter we learn that the writer, Lindamira, having been 
led by the flattery of some sparks to enter into a flirtation with a married 
man, is on the way to the country to avoid the attentions of her admirer. 
In the coach she meets a young barrister, Cleomidon, who falls in love 
with her. During her stay with her friends she becomes engaged to him, 
but for various reasons keeps it a secret. The illness of her mother recalls 
her to town and a few days thereafter her mother dies, leaving her without 
a protector. Cleomidon is anxious to marry, but she insists upon waiting 
a year, which leads to a quarrel and the breaking of the engagement. He, 
in a huff, marries another — and repents at leisure. The next few letters 
concern the numerous affairs of Lindamira's gay cousin, but toward the 
end we learn that Cleomidon's wife has died and that he has again become 
engaged. A little later he meets his first love and a reconciliation is effected. 

Less good is The Double Captive; or. Chains upon Chains, 
containing the Amorous Poems and Letters of a Young 
Gentleman, one of the Preston Prisoners in Newgate. Oc- 
casioned by his falling in love with a Scotch lady who came 
to visit his friend. Here again the first part, with its realistic 
description of the prison and of the emotion unconsciously 
aroused by the lady, far surpasses the conventional love letters 
and insipid verse of Part II. Decidedly original is The 
Distressed Orphan; or, Love in a Al ad-House. ^^ 

Annilia, a rich orphan, was kindly brought up by her uncle, who intended 
to marry her to his son and thus keep the money in the family. The son, a 
weak creature, immediately yielded to his father's wishes, although he had 
no particular inclination for his cousin ; and Annilia half consented. 
Shortly thereafter she met and fell violently in love with Marathon. Her 
uncle, having discovered her passion, tried to hasten her marriage to his 
son, and on her absolutely refusing, resorted to hard usage. Finally, he 

"Reprinted as Love in a Madhouse; or, the History of Eli::a Hartley. 
The Distressed Orphan. Written by herself after her happy Union with 
the Colonel, London, 1810. The style was modernized, the names changed, 
and the moral omitted. 



110 

became desperate and giving out that her mind had become affected, com- 
mitted her to a private asylum. Here, after a long search, her lover dis- 
covered her, got himself committed, and by the aid of his servant rescued 
the ill-treated Annilia. The truth having become known, the uncle and 
his family were severely censured, and so high ran public opinion that the 
son was forced to fly the country, and the father, scorned by his old friends, 
died of a broken heart. " May all such base designers," concludes the 
author, " meet the same fate ; let them in foreign lands wander unfriended, 
unregarded, fit society only for Beasts of prey ; while the constant and sin- 
cere meet with a recompense proportionate to their merit, happy in them- 
selves, and triumphant over those who seek to harm, to detract, or to preju- 
dice them." 

Its most remarkable feature is the humane protest against 
the barbarous treatment of lunatics, and the generally en- 
lightened attitude toward insanity. Last of all, but by no 
means the poorest is, Alexis and Sylvia, the second novel in 
the Constant Lovers (1736), " being the live and tender letters 
that passed between them after her father had terminated 
their amour " on the score of the suitor's poverty, and before 
a kind friend had equalized their fortunes. Sylvia's letters 
reveal independence, enterprise, and sprightliness of spirit. 

Novels of a similar nature were translated from the French, 
but not in appreciable numbers until the decade of the thirties, 
so that in this case, the translations seem to have followed the 
original works. The Unnatural Mother; being the Genuine 
and most affecting History of the Tragicall and Fatal Conse- 
quences that attended the passion of a Gentleman of the Lazu 
and a young lady of a considerable Family (1734), has the 
realism that comes with the verisimilitude of external detail. 
Marivaux's Le Paysan Parvenu and La Vie de Marianne, both 
translated in 1736, are too well-known to require summaries. 
They both show the tendency to deal sympathetically with the 
bourgeoisie, to depict manners with great detail, and to center 
the interest around the struggle between virtue and vice as per- 
sonified in an innocent young girl and a rake. 

The Oriental Tale 

Besides the development of the " domestic history," two 
new features appeared during the period — the Oriental tale 
and the purely didactic story. The former enjoyed a mild 



Ill 

vogue. Miss Conant, in her interesting study of The Oriental 
Tale in England-'^ has shown how the purely romantic interest 
in the Orient, its use as a setting for romances Hke TacJimas, 
Prince of Persia (1676), Ahnanzor and Alm'ansaide (1678), 
Altidra, Princess of Fess (1682), and many of the late heroic 
romances, led to its adoption for satiric purposes in Marana's 
Turkish Spy (1698), and Brown's Amusements Serious and 
comical calculated for the Meridian of London (1700);^^ 
for moral and philosophic purposes in tales like the Story of 
Helim and Ahdallah, contributed by Addison to the Spectator, 
and in numberless other narratives in the periodicals. Genuine 
Oriental tales were introduced, once more by the way of 
France, in the opening years of the eighteenth century; The 
Arabian Nights was translated about 1704 and was followed by 
the Persian Tales in 1714, the Chinese Tales in 1725, and so 
on. Their popularity, as Miss Conant points out, was due in 
no small measure to the prestige given them by their vogue in 
France. Their sentimentalism, their romanticism of spirit, 
combined with their realism of detail, made a strong appeal. 
Their influence on fiction would naturally be greatest on the 
romance and novel of incident, since the interest of these 
stories centers on the rapid succession of events and not on the 
characters. The fairy tales of Perrault-- and Madam d'Aul- 
noy,-^ which in France shared the popularity of the Oriental 
tales, did not arouse much enthusiasm in England until later 
in the century. 

The Fable, Apologue, and Educative Romance. 

The term " didactic story " might almost be used to cover all 
the fiction of the period, for the wildest romances and most 
licentious tales were interlarded with sententious saws and 
supplied with a preface stating that " to instruct and to amuse 
is the end of all books of this nature," but strictly speaking the 

^ The Oriental Tale in England in the Eighteenth Century, by Martha 
Pike Conant, New York, 1908. 
^ Cf. supra, p. 66. 
^Translated 1729. 
'^ Tales of the Fairies, Works, vol. iii, translated 1707. 



112 

didactic story includes only those narratives written to point 
a moral, teach a lesson, or elaborate a theory, such as fables, 
apologues, and semi-educational treatises. The fables were, for 

.the most part, translations through the French, of Oriental 
originals, and more rarely of French imitations. The Fables 
of Bidpai, of which a forgotten translation had been made by 
Sir Thomas North in 1570,-* was re-translated in 1679, and 
reprinted five times by 1800. JEsop's Fables were several 
times printed, the most famous version being the metrical trans- 
lation by Sir Roger L'Estrange in 1692. Of contemporary 
fables in English, after we have excluded Gay's Fables and the 
Countess of Winchilsea's metrical fables in imitation of La 
Fontaine, the best, I think, are to be found in the Collected 
Works of the Duke of Wharton (1727), but whether The 
Cat and the Over-Bold Mouse and Chardonet, the Captwdi 
Gold-Finch; a Warning to all Prodigals are translated or origi- 
nal, I do not know. 

Closely related to the fable in style and spirit is the apologue, 

\ likewise of Oriental origin. The best representatives in Eng- 
lish are those in the Spectator, of which The Story of Hilpa, 
Harpath and Shalum is perhaps the most generally known. 
The attempt to cast the novel of intrigue and the short ro- 
mance into the apologue mould produced a most incongruous 
effect. Two novels by a Mrs. Arabella Plantin, contained in 
the Works of the Duke of Wharton will serve as examples. 
The first, The Ungrateful, or the Just Revenge, is a typical 
Italian story of a woman who killed her husband who had been 
so " ungrateful " as to desert her after running through her 
fortune. The other. Love Led Astray; or, the Mutual Incon- 
stancy is a courtly pastoral of crossed loves, ending in an ex- 
change of sweethearts, from which tale Mrs. Plantin draws 
the illuminating moral that a " shepherd can love as well as a 
king." Somewhat akin to the apologue, is the proverb litera- 
ture, of which species of writing, the most prominent author 

-* Under the title The Morall Philosophie of Donie &. It was reprinted 
in 1601. In 1679 another version, The Instructive and Entertaining Fables 
of Pilpoy came out and was reprinted in 1743. Still another version ap- 
peared in ^sop Naturalized, brought out in 171 1. 



113 

is Oswald Dykes. His Good Manners for Schools, or a 
paraphrase upon Qui mihi, . . . , Done into English verse 
(1700), Moral Reflections upon Select English Provet^h^ 
(1708), were several times reprinted; the latter in 1709 and 
again in 1713. Neither the novel of incident nor the novel 
of manners could borrow much from such short, impersonal, 
formal stories as the fable and apologue, but in the premium 
which these put upon singleness of purpose and clearness of 
style their influence was most beneficial. 

The third type of didactic story, the educative treatise, was 
developed at this time and may be said to have been brought 
into prominence, if not created, by Fenelon, who in his 
Tclcmaque, utilized a romantic machinery somewhat similar to 
that of the Argenis to exploit his educational theories.^^ He 
was followed by the Chevalier Ramsay in Les Voyages de 
Cyrus (1727, 1730), by the Abbe J. Pernetti in Le Repos de 
Cyrus and by the Abbe Terrasson in S ethos (1731), in all of 
which there was much information upon historical and scientific 
subjects. There were English versions of all of these. 
Telemachus was translated in 1699, The Voyages of Cyrus in 
1730, Sethos by M. Lediard in 1732; but the only English 
work modelled directly upon these that appeared before 1740 
was the inferior Exilius of Mrs. Jane Barker in 171 5. Our 
Sunday-school fiction and such edifying children's stories as the 
Rollo series probably had their origin in a combination of the 
learned educative narrative, the more popular social treatises, 
and the sentimental pieces of such pious ladies as Mrs. Rowe. 

To recapitulate, the novel or brief tale which during the 
first half of the seventeenth century had fallen into desuetude, 
returned to favor in the latter half, and before 1700 had sup- 
planted the romance in popular favor. The short Italian 
novelle which, condensed, modernized and vulgarized for many 
years continued to fill such collections as The Delightful Novels 
and Winter Tales, were the point of departure for the more 

^ In this connection may be mentioned the Oriental philosophic romance. 
The Improvement of Reason, exhibited in the Life of Hai Ebn Yokdhan; 
Written in Arabic above 500 years ago, by Abu Jaafar Ebn Tophail, which 
appeared with slightly varying titles in 1674, 1708 and 1711. 



114 

romantic Spanish novels of the Cloak and Sword and for the 
clever French novels of manners. Through the translations 
and imitations of the latter by writers such as Mrs. Behn, the 
much-needed realism, vivacity, and colloquialism was imported 
into the heavy English prose fiction. In the same direction was 
the influence of the sprightly Narrative Comedies. Realism 
of emotional expression was learned from the Letters of a 
Portuguese Nun, which incidentally gave prominence to the 
device of the letter. With the turn of the century, we find a 
reaction against flagrant immorality, together with a revival 
of sentimentalism and a love of didacticism, reflected in the 
social treatises, the fables, the apologues, the educational nar- 
ratives, and the Oriental and fairy tales. All of these elements, 
together with a conventional, middle-class point of view, an 
increasing interest in self-analysis, and a realistic depiction of 
manners, we find in the contemporary narratives, notably in the 
domestic histories of Mrs. Haywood and the novels of Mrs. 
Barker and her anonymous contemporaries. 



CHAPTER IV 

THE POPULAR FICTION— JOHN BUNYAN— DANIEL DEFOE 

With the popular fiction, we come to the large mass of cheap, 
artless, and ephemeral narratives, written for and read by all 
classes of people from the uneducated apprentices and small 
tradesmen to the court gallants. The majority are broadsides, 
popular histories, or chapbooks, but others were written by 
men of ability and fair schooling like Defoe. Nor must it be 
assumed that even the chapbooks were familiar only to the 
ignorant, for from the allusions in the drama, essays, fiction, 
and memoirs, it is quite apparent that the children, if not the 
adults, of all classes read them with delight.^ They became 
part of the literary inheritance of the nation and thus in- 
fluential in the moulding of all later forms of fiction. In 
number they are legion and in variety infinite, so that we can 
hope to do no more than glance at the most prominent types. 
Exclusive of news-letters, of tracts on dreams, ghosts, palmis- 
try, astrology, behavior, and of sundry collections of letters, 
there are five groups : vulgar redactions of aristocratic fiction ; 
legends, folk-tales and historical anecdotes ; accounts of ple- 
beian heroes both of the past and present; and last but not 
least, journalistic pieces of all sorts. Least interesting 
perhaps, are the versions of the romances, anti-romances, and 
novels, for they merely reflect in ruder form the taste of the 
educated. Before the Restoration, the redactions were chiefly 
of the romances,- as, for example, Amadis, Bellianis, Pahneryn, 

^ " When Guy of Warwick, Parismus, and Parismenus and Valentine and 
Orson, and the Seven Champions of England were handed round the 
school," Sterne's Life and Opinions of Tristram Shandy, Bk. v, p. 3. 
Clonmel, ed. ii, 211. 

''These prints are usually without dates, but in a few cases we know both 
the redactor and the date, especially in the case of the work of Francis 
Kirkman and Richard Johnson, which seems to have been a little revival of 
the old forms. Amadis, by R. J., 1664; Bellianis, by F. K., 1671 ; The 

115 



116 

Parismus and their less aristocratic compeers, Guy of Warwick 
and Bevis of Hampton among the chivalric, and Pandosto, 
Ciceronis Amor, Rosalynde, and the Arcadia among the Eliza- 
bethan; but even before 1660, while the romances were still 
" turned out," the taste for realism of the grossest kind, made 
equally popular the condensations of picaresque miscellanies, 
and such French novels of scandal as could be turned to the 
ridicule of the French, as, for example, the French King's 
Wedding, or the Royal Frolic. The heroic romances, the comic 
romances, with the exception of Don Quixote,^ and the clever 
novels of intrigue were rarely, if ever, vulgarized. Exactly 
how much the writers of popular histories learned from these 
redactions, and how much these in turn contributed to such 
writers as Bunyan, Defoe, and Richardson it is impossible to 
determine, but undoubtedly many devices were transmitted 
from one to the other. The chief contribution was made by 
the romances of chivalry, which, to repeat what has already 
been said, emphasized the conception of the narrative as "the 
whole life and principal adventures of some particular person 
or persons," in contradistinction to the novel, which, like the 
drama, confined itself to a certain set of closely related inci- 
dents. The histories of Richardson and Fielding show the 
combination, or the attempted combination of the two con- 
ceptions, for, while we always are given " the whole life," the 
interest centers on a certain group of incidents. 

More interesting than the redactions are the legends, folk- 
tales, and historical anecdotes, many of which have received 
literary treatment at one time or another, or have found their 
way into our nursery rhymes. Here, for instance, belong Jacke 
and the Gyants, Simple Simon, The History of A. Apple Pye, 
The Children in the Wood, Reynard the Fox, Friar Bacon, 
Faustus, Fortunatiis, and many more. Among the historical 
anecdotes are The King and the Tanner, Jane Shore, Fair 

Eighth Champion of Christendom, c. 1708, a rather satirical continuation, 
Pandosto, in 1614, 1648, 1678, 1688, moralized and bound with Josephus 
in 1696. Ciceronis Amor, in 1605, 1611, 1616, 1628, 1639. The Arcadia 
was condensed and printed in 1701 as The History of Heroic Acts. 
'Cheap condensed versions appeared in 1689 and 1695. 



117 

Rosamond, Wat Tyler, Jacke Strazv — all it will be noted demo- 
cratic in character.* 

Closely akin to the democratic anecdotes of royalty in dis- 
guise are the " histories " of popular heroes like Robin Hood 
and his famous band, who lived a merry, independent life in 
defiance of the law, or like Whittington, Thomas of Reading, 
and Simon Eyre, who rose from the lowest class to wealth and 
eminence. The predorninating note in one and all is the glori- 
fication of the self-made man, and incidentally of the middle 
class. This spirit at its best is preserved in the versions of the 
old stories made by the sunny Elizabethan, Thomas Deloney. 
He was the Dekker of prose fiction, and the exploits of Thomas 
of Reading, John Winchcomb, Crispin and Crispianus, and 
Simon Eyre, seem to have caught his inimitable buoyancy and 
contagious joviality. The informing spirit is aptly expressed 
in the following couplet on the title page of a quaint little 
tale of Anglo-Saxon times: 

" Though all things suffer by the hand of Fate, 
I hope true worth will never out of date." 

Then follows the History of Bovmian (1656), who from a 
henchman rose to be a thane at the court of Athelstane, wooed 
and won the King's sister, and on the monarch's death was 
elected his successor — all of which he accomplished by bravery 
and ability. The temper in this, as in all the "histories," is 
that of Philistine self-satisfaction. The virtuous are always 
rewarded with the goods of this world, and have the pleasure 
of defeating and punishing the wicked; the low-born hero is 
never weary of bragging of his prowess, of exulting in his 
power and wealth, and with ostentatious democracy " treating 
all men alike." With the joviality replaced by a more con- 
ventional and more conscious morality, the same spirit of 
unquestioning optimism and assertiveness appears again in the 
work of Defoe. 

* Occasionally a political significance was attached to the story, as in the 
case of Wat Tyler, which bore the sub-title " just reward of Rebels." The 
Perplexed Prince (1682) utilized the old king and the peasant device to 
make a plea for the Duke of Monmouth. The B. M. catalogue says that 
this tract appeared before the date on the title page. 



118 

In the moral and religious tracts, which next claim our 
attention, the spirit is entirely different — the theme is the 
wickedness and weakness of man. Of the reformative tracts, 
such as The Drunkard's Legacy, A Warning to Disobedient 
Children, etc., it is unnecessary to say anything; out of them 
great things never grew, yet they have continued to exist in 
such edifying works of comparatively recent times, as Ten 
Nights in a Bar-Room. A rare and pretty variation from the 
usual form is the fairy tale of the Golden Eagle (1677). 

Albertus, King of Arragon, falls ill of a languishing disease and is told 
by his physicians that his return to health depends upon the recovery of 
the Golden Eagle from the Queen of Ivyland. He sends his three sons, but 
they disagree about the way, and the two elder rob the youngest and leave 
him bound, in a wood while they continue the search. He is released by a 
hermit and through the help of a kindly lady gains access to an enchanted 
castle and there procures a horse that carries him to Ivyland. His request 
for the Eagle is granted and he starts for home, but his brothers meet him, 
seize the Eagle and hasten home to the father, who rewards them liberally. 
The poor youth, Innocentius by name, manages after a time to return to 
Ivyland. The Queen, enraged at the perfidy of the brothers, visits the 
court, explains the whole story to the King, and after having the impostors 
banished, marries Innocentia. 

The religious tracts^ are less common than the moral. The 
Scriptural paraphrases, biographical accounts of Saints, and 
the like, are not important and far from numerous in prose, but 
there were current a Life of Judas Iscariot, The Exodus, and 
Genesis. Of those concerning conscience there are a number, 
many of which have titles suggestive of Pilgrim's Progress and 
may well have been familiar to Bunyan, who elevated and gave 
final shape to these allegories. The most prominent are The 
Voyage of the Wandering Knight, The Pilgrim's Passe to the 
Neiv Jerusalem by " M. K. Gent" (1659), Dent's Plain Man's 
Pathway to Jieaven^ and the ever popular Isle of Man, by 
Richard Bernard, written in 1627 and in its fourteenth edition 
in 1678. 

® For a full bibliography of these see The Pilgrim's Progress, ed. Hanserd, 
Knollys Society, with an Introduction by G. Offer, 1847; and J. B. Wharey, 
A Study of the Sources of John Bunyan's Allegories, University of Pennsyl- 
vania Publications, 1904. 

* Printed during the seventeenth century in 1607, 1637 and 1660. 



119 

The sensational news-narratives are the last, but by no 
means the least, of the groups into which we divided the popu- 
lar fiction. These were the "yellow journals" of their day, 
printing anything for a sensation and at the same time pre- 
tending to narrate actual facts. The aim was to produce 
the effect of a literal description, whether the subject was a 
supernatural wonder, such as The Full, True, and Particular 
Account of the Ghost or Apparition of the Duke of Bucking- 
ham's Father; a crime like The Bloody Tragedy or The 
Lazvyer's Doom; a criminal biography such as The History 
of Jacke of Nezvbury, or the tales in the Newgate Calendar;"^ 
a political tract such as The Royal Martyr; or the common 
news of the town — elopements, tragic deaths, seductions, dra- 
matic marriages, etc. — such as we read every day in our news- 
papers. Defoe found these journalistic narratives at his hand, 
and without deviating from their purpose, to create a sensa- 
tion, or from their method, the production of the illusion of 
actuality, he raised the ghost story, the criminal biography, 
and the narrative of adventure " to the realm of literature." 
As we shall see, his genius consisted in doing better than any- 
body else what many had already attempted. With one variety 
of chapbook, the love story, Defoe did little except in so far 
as he utilized such material in Moll Flanders, Roxana, " Col- 
onel Jacque " and his conduct-books. 

The brief popular love stories form an interesting little 
group, giving us peeps into the life led by the citizens and often 
dealing with the same themes and situations to which Richard- 
son was to give literary treatment. There was Love in a Pas- 
sion zuithout Z>ucr^ffo;i, being an account of a well-to-do young 
merchant who was so smitten with the beauty, discretion, and 
virtuous conduct of a girl he met in a holiday crowd, that he 
insisted upon marrying her forthwith, even when she " dis- 
covered to him she was his friend's servant." 

A trifle more literary is Amanda, the Reformed Whore 
(1635), a prose and verse narrative by Thomas Cranley, which 
recounts the courtship of the fair Amanda of questionable 
reputation, by a prisoner who besought her to leave her evil 

''The Nezvgate Calendar, London, 1728. 



120 

ways and so filled her heart with repentance that she died 
of grief. A later and less tragic version of a similar story^ 
has a good young man convert the erring damsel and after 
placing her as a servant in a worthy family, sail to foreign 
parts. She conducted herself well for years, and then came 
her reward ! Her mistress died, and she became her master's 
second wife, and lived happily with him until his death a 
few years later. In the meantime, the good young man, who 
had " gone over sea," had lost all his wealth in unfortunate 
ventures, and returned penniless to London about the time that 
the woman whom he had befriended was left a wealthy widow. 
She, while out walking one day, recognizing in the poor beggar 
her former benefactor, immediately renewed their acquaint- 
ance, and married him out of hand that he might enjoy the 
wealth he had been instrumental in procuring. " Thus was 
their virtue rewarded." 

Richardson's relation to the popular and ephemeral fiction 
is not similar to that of Defoe. Precisely what his indebted- 
ness was is most uncertain. His themes might well have 
been derived from the drama and from hints in the periodicals 
and conduct-books, yet there is something in the atmosphere, in 
the style, and in the pervading materialism that savors of the 
popular narratives. On the other hand, his point of view, 
reflective, idealistic, almost romantic, and his conscious utili- 
zation of devices and methods derived from the romances, the 
novel, and the drama, make his work stand quite apart. In 
speaking of the relation of the drama to fiction, it may be in 
place to mention here that subjects such as filled these popular 
histories were common in the domestic tragedies. Of these the 
best are by Thomas Hey wood, and although his point of view 
is very different from that of Richardson, centering upon the 
man instead of the woman, yet in The Travellers, The Woman 
Killed with Kindness and the Jane Shore episodes in Edward 
IV, there is much similarity to the novels in the material, 
narrow morality, the sensibility of the characters, and the 
tragic pathos. In this connection it is interesting to note that 

* The Reformed Whore. This has no date, but the B. M. catalogue gives 
c. 1709. 



121 

Rowe re-worked the Jane Shore material in 17 14, and that 
Richardson particularly comments upon that play and The Fair 
Penitent in Clarissa Harlowe. During these years, too, Otway 
was much in vogue, and immediately before Richardson, came 
Lillo's George Barn field (1731), and Fatal Curiosity (1737), 
and the sentimental comedies of Steele. 

John Bunyan^ 
Pilgrim's Progress and Mr. Badman 

In Pilgrim's Progress, Bunyan produced not only the most 
perfect of English allegories but a masterpiece of prose nar- 
ration. With the sources of the allegory, the device of the 
vision and the conception of life as a pilgrimage, with its rela- 
tion to the Faerie Queen and similar mooted points, we are not 
concerned. The whole question has received careful attention 
in an admirable study by James B. Wharey,^° who, after com- 
paring Pilgrim's Progress in detail with Deguileville's Pilgrim- 
age of the Life of Man, Cartigny's Voyage of the Wandering 
Knight, Patrick's Parable of the Pilgrim, and more cursorily 
with other allegories from The Table of Cebes to 1678, and 
after taking into consideration many sermons and homilies with 
suggestive themes and titles, comes to the conclusion that: 
" Bunyan was among the last of a long line of allegorists, that 
the concept had become common property, and that Bunyan 
adopted the framework which had been handed down from De- 
guileville through other allegorists, relying, however, for the 
details of his allegory, not upon the works of his predecessors, 
but upon his own invention. Bernard's Isle of Man and Arthur 
Dent's The Plaine Alan's Pathway to Heaven are the only 
works from which Bunyan can be said to have borrowed, and 
from these chiefly in The Holy War and Mr. Badman." If 
Bunyan's debt to these popular allegories is so indefinite, that 

* The Collected Works of John Bunyan, ed. George Offer, 3 vols., 1853. 

^^ J. B. Wharey, A Study of the Sources of John Bunyan's Allegories, 
University of Pennsylvania Publications, 1904, and The Pilgrim's Progress, 
ed. Hanserd, Knollys Society, with an introduction by G. Offer, London, 
1847, which contains a valuable list of early allegories, etc. 



122 

to the Faerie Queen is even more a matter of conjecture. In 
a comparatively recent article by Otto Kiitz/^ the scattered 
statements on this head, with the passages from Spenser, have 
been collected, and it must be conceded that there is a general 
similarity in many passages, notably between the House of 
Holiness and the Cave of Despair, but there are equally strik- 
ing differences even in these passages, so that, considering the 
prevalence of these ideas and the improbability of Bunyan's 
knowing Spenser, it is more than probable that the similarity 
is wholly fortuitous. 

As a narrative, and as such it concerns us. Pilgrim's Progress 
goes back in structure, in the adventures with the giants, Apol- 
lyon, and villainous " knights," in the " entertainments " at fair 
palaces, in the succour of the weak, and other details, to the 
romances of chivalry. There are, however, vital differences: 
in the first place, Bunyan was primarily concerned with the 
spiritual truth and allegorical parallel ; in the second place, he 
wrote in terms of the lesser bourgeoisie; tradesmen and shop- 
keepers replace the ladies and gentlemen of the romances, 
and their manners, customs, language and ideals supplant the 
refinement and elaborate etiquette of the court ; and in the third 
place, he substituted realism for romanticism. Idealism he 
retained ; a loftier conception of the conduct of life is hard to 
imagine, and his narrative was written to illustrate that life 
without minimizing its difficulty. It was not presented as life 
of poetic goodness led in an ideal world or golden age. His 
characters are human men and women contending against the 
temptations and evils with which we are all familiar, but doing 
so in a nobler and more heroic spirit. Therein lies the success 
of Pilgrim's Progress as an allegory, and much of its interest 
as a narrative : it is our own world cast upon a higher plane, 
possessing at once the charm of familiarity and the fascination 
of novelty. Yet had Bunyan not been endowed with a wonderful 
genius for telling a story, Pilgrim's Progress would never have 
won and retained its tremendous popularity. It is often said 
that Bunyan regarded himself as anything but a romancer, but 

'"'The Faerie Queen and Pilgrim's Progress," by O. Kiitz, Anglia, 1899, 
xxii. 33 sq. and 77 sq. 



123 

we should change the phrase to read " merely a romancer " ; for 
Bunyan, having in his prefatory poem justified the use of 
parables, and " baits " and " snares," frankly employed all the 
devices known to narrative art in order to produce a vivid im- 
pression. In his use of accurate detail to produce the illusion 
of actuality, in the naturalism of the characters, and in the 
adoption of a vigorous, colloquial, yet dignified style, he was a 
worthy predecessor of Defoe, whom he surpassed in spiritual 
uplift and in certain phases of creative imagination. From the 
artistic standpoint, Part I is decidedly superior to the continua- 
tion. From the moment that Christian enters the scene in that 
classic sentence : " I dreamed, and behold, I saw a man clothed 
with rags, standing in a certain place, with his face from his 
own house, a book in his hand, and a great burden upon his 
back," until his entry into the New Jerusalem and the final 
closing of the gates, the hero has our undivided interest. 
There is not an extraneous episode, not an insignificant per- 
sonage, scarcely a superfluous word, for even those easily- 
skipped moral disquisitions are in perfect character. And 
with what power are the characters drawn! With what nice 
distinction are Faithful, Hopeful and Christian delineated, 
and how lifelike Mr. Timorous, Mr. Talkative and Mr. By- 
Ends ! Part II, while distinctly inferior as an allegory and 
somewhat so as a narrative, is far more genial in tone and 
richer in pictures from homely life; there are the family ties, 
lovable Christiana, Mercy, one of the first of a long line of 
sweet young girls in English fiction, Great-Heart, as brave and 
true as Christian, but less aggressive than that militant hero. 
We have a domestic history of the whole family such as does 
not occur again till the end of the next century. What success 
Bunyan would have attained had he set about writing mere 
fiction, we can guess from little episodes such as that of Mr. 
Brisk and Mercy which in lightness of touch and naturalism 
are equal to anything in Defoe or Richardson. 

Mr. Brisk having offered his love to Mercy, she very wisely inquired 
concerning him of the maidens in the house and finding that " he was, as 
they feared, one that pretended to religion ; but a stranger to the power of 
that which is good," decided to have none of him. " Prudence then re- 



124 

plied that ' there needed no great matter of discouragement to be given him, 
her continuing so as she had begun to do for the poor would quickly cool his 
courage.' " 

" So the next time he comes, he finds her at her old work, a-making of 
things for the poor. Then said he, ' What ! always at it ? ' ' Yes,' said she, 
'either for myself or for others.' ' And what canst thou earn a-day ? ' 
quoth he. ' I do these things,' said she, ' that I may be rich in good works, 
laying up in store a good foundation against the time to come, that I may 
lay hold on eternal life.' 'Why, prithee, what dost thou with them?' said 
he. * Clothe the naked,' said she. With that his countenance fell. So 
he foreBore to come at her again and when he was asked the reason why, 
he said, that ' Mercy was a pretty lass, but troubled with ill conditions.' " 

" When he had left her. Prudence said, ' Did I not tell thee, that Mr. 
Brisk would soon forsake thee? yea, he will raise up an ill report of thee; 
for, notwithstanding his pretence to religion, and his seeming love to Mercy, 
yet Mercy and he are of tempers so different, that I believe they will never 
come to-gether.' " 

" ' I might have had husbands afore now ' (said Mercy) ' though I spake 
not of it to any ; but they were such as did not like my conditions, though 
never did any of them find fault with my person. So they and I could not 
agree.' " " 

Even more remarkable is Bunyan's sympathetic treatment 
of the " boys " ; for example, the description of Matthew's 
illness in the House of the Interpreter. 

" When the potion was prepared, and brought to the boy, he was loath to 
take it, though torn with the gripes as if he should be pulled in pieces. 
' Come, come,' said the physician, ' you must take it.' ' It goes against 
my stomach,' said the boy. ' I must have you take it,' said his mother. 
' I shall vomit it up again,' said the boy. ' Pray, Sir,' said Christiana to 
Mr. Skill, ' how does it taste ? ' 'It has no ill taste,' said the doctor ; and 
with that she touched one of the pills with the tip of her tongue. ' Oh, 
Matthew,' said she, ' this potion is sweeter than honey. If thou lovest 
thy mother, if thou lovest thy brothers, if thou lovest Mercy, if thou lovest 
thy life, take it.' So with much ado, after a short prayer for the blessing 
of God upon it, he took it and it wrought kindly with him." ^' 

The Life and Dgath of Mr. Badman, while inferior to Pil- 
grim's Progress, of which it is the counterpart, is nevertheless 
a most interesting narrative. The dialogue framework is awk- 
ward, the hero's character repulsive, and the sermxons and argu- 

'^ Pilgrim's Progress, Offer ed. ii. 200-01. 
^^ Ibid., p. 202. 



125 

ments too numerous, but these defects are almost counterbal- 
anced. The personalities of the authoritative Mr. Wiseman and 
the eager Mr. Attention are nicely and consistently differen- 
tiated, the comments and moral reflections are all appropriate, 
the illustrative stories to the point, and the daily life of Badman, 
his wretched wife, and their neighbors, is pictured vividly and 
with wonderful precision. There could be no better proof of 
Banyan's aesthetic sense than the simple description of the 
death of the heart-broken wife and the equally peaceful end of 
her wicked husband. In a few graphic phrases he sets a 
homely scene or dramatic situation before us more effectively 
than Richardson with his quantities of minute detail. Inci- 
dentally, it is interesting to find Bunyan using, though pre- 
sumably without any intention to deceive, such a device for 
gaining credence as the backing up of one improbable story 
with another, and vouching for its truth on the reputation of 
the narrator, a device which we associate with Defoe. 

Grace Abounding to the Chief of Sinners, is not, strictly 
speaking, fiction, but neither is it a literally true account of 
Bunyan's life. His sensitive conscience and vivid imagination 
caused him to picture his spiritual experiences in the most glar- 
ing colors. In relating these personal experiences he displayed 
great, though unconscious, art, in subordinating the unim- 
portant, in elaborating the significant, in seizing dramatic possi- 
bilities, in blending the objective and subjective events of his 
life, and in firing the whole with his fervid religious enthusi- 
asm. The Holy War has very little narrative element, but in 
common with all of Bunyan's work, it contains many inter- 
spersed anecdotes which would themselves prove his genius 
for story-telling. 

As was to be expected, Pilgrim's Progress and Mr. Badman, 
and more particularly the former, were immensely popular. 
The first part of the allegory appeared in 1678, and had 
reached its fourteenth edition in 1702, and its twenty-fourth in 
1743; while part II, which did not appear until 1684, was in its 
fourteenth edition in 1743. There were, moreover, a spurious 
second part; a burlesque Hue and Cry after Conscience (1684), 
at least two similar allegories by Benjamin Keach, Travels of 



126 

True Godliness (1684), and The Progress of Sin (1685), imita- 
tions so close as to be little better than redactions ; and two verse 
versions of the original.^* References, after 1700, are common, 
and although Young, Addison, Lady Mary Montague, and 
Swift, seem to have regarded it with varying degress of 
condescension, there were a few, like Cowper, who perceived its 
literary merit, and whether complimentary or otherwise all these 
allusions indicate that the work was well known, if not ad- 
mired, by the educated."^ By 1700, or at the latest 1719, when 
Gildon wrote, it was familiar to every child and had become 
part of the common inheritance of the nation.^^ It would 
seem natural then, for it to have had a strong influence on the 
narrative and on the development of fiction generally, but such 
is not the case. An Accouni of some Remarkable Passages in 
the Life of a Private Gentleman; with Reflections thereon^^^ 
(1708), shows not so much direct copying from Pilgrim's 
Progress, as the wide-spread interest in the portraying of the 
spiritual or moral life of a character. Passages like the follow- 
ing are unusual for though moral precepts were rife, religious 
fervor was rare.^^ 

" O let my Soul Bless Thee, my dear God, that when I thus forsook Thee, 
Thou didst not, as I deserved, cast me off utterly. Wonder, O my Soul at 
thy own desperate folly, and the amazing Patience and Goodness of God ! 
O never forget it, to maintain Humility, Watchfulness, Prayer and Contin- 
uous Praise." 

On the whole, Bunyan's work stands apart as the culmination 

^* One in 1698 by Ager Scholan, the other in 1700 by Francis Hoffman 
Gray. There is a full list in Brown's Life of John Bunyan. 

"* For a collection of the various opinions expressed by the literary people 
of the eighteenth century see the Saturday Review, Aug. 7, 1880, XLVIII. 
i6y. 

" Charles Gildon writes in his Life and Surprising Adventure of Mr. 
DeF., etc., 1719. " There is not any old Woman, that can go the Price of it, 
but buys thy Life and Adventures (of Robinson Crusoe) and leaves it as a 
Legacy with the Pilgrim's Progress, the Practice of Piety and God's Revenge 
against Murther to Posterity." Quoted by Lee, Daniel Defoe, his Life and 
Hitherto unknown Writings, i. 298. 

"" This work is sometimes, though erroneously, attributed to Defoe. 

"In The Autobiography, p. 418, A. R. Burr lays considerable stress on 
the religious fervor and introspective qualities of the group of Quaker 
journals, some thirty-eight, written between 1660 and 1710. 



127 

of the allegory rather than among the sources of the novel of 
domestic life. 

Daniel Defoe" 

Daniel Defoe served his apprenticeship in literature as a 
journalist and throughout his life retained the journalistic 
point of view. His subjects are always opportune, his title- 
pages " catchy," his methods sensational, and his style collo- 
quial. Yet his is a success not to be attributed merely to re- 
portorial cleverness or literary trickery; on no such superficial 
basis would Robinson Crusoe have become a world classic. 
Just how much Defoe had done in the field of prose fiction 
prior to the publication of Robinson Crusoe in 1719 is uncer- 
tain. Training in narrative art was afforded by compilations 
of descriptive and illustrative anecdotes such as The Storm 
(1704), by expository accounts of political transactions such 
as The Secret History of the October Club (1711), The Secret 
History of the White Staff ( 1714), and the like. Moreover, as 
early as 1705, he had tried his hand at something like a political 
romance in The Consolidator, and the succeeding year in The 
True Relation of the Apparition of one Mrs. Veal, so long re- 
garded as a pure invention,^'^^ he had proved himself a master 
reporter. In the latter we find all the little devices for gaining 
credence — the abundant and often irrelevant detail, the plaus- 
ible but fallacious reasoning, the apparent disinterestedness of 
the narrator, and the clever answering of doubts and misgiv- 
ings — which are so conspicuous in his later writings. In 171 5, 
we find him trying his favorite form, the autobiography, in the 
History of the Wars of his present Majesty Charles XH, King 
of Szveden, for he put the military history of that monarch in 

^'' W. Lee, Daniel Defoe: His Life and Recently Discovered Writings, 3 
vols., London, 1869. 

Novels and Miscellaneous Works, etc., 20 vols., Oxford, 1840-41. 

W. P. Trent, " Bibliographical Notes on Defoe," The Nation, June 6, 
July II, Aug. IS, and 29, 1907; LXXXIV. 515; LXXXV. 29, 140, 180. 

To Professor Trent I am greatly indebted for information and suggestions 
about Defoe's narratives. 

"" Cf. "The Apparition of Mrs. Veal" by G. A. Aitken in Nineteenth 
Century, 37. 95, 1895. 



128 

the form of a memoir of a " Scots Gentleman in the Swedish 
Service." In 1718, came the Continuation of the Letters of a 
Turkish Spy,'^'^^ and finally, in An Historical Account of the 
Voyages and Adventures of Sir Waiter Raleigh (1719), Defoe 
dealt with the material he utilized so largely in his narratives. 
Such, in the main, is what we know of the author's special 
preparation to write Robinson Crusoe, although it is not im- 
probable that he revised or translated, in part at least, some of 
the numerous memoirs then current. 

The Life and Strange Surprising Adventures of Robinson 
Crusoe of York, Mariner, appeared on April 25, 1719, and on 
August 8, of the same year was reprinted for the fourth time. 
At about the same date as the fourth edition, Defoe published 
The Farther Adventures of Robinson Crusoe, Being the Second 
and Last Part of his Life, and the ensuing year 1720, Serious 
Reflections of Robinson Crusoe, but neither of these is com- 
parable to the first part, and indeed, it is no exaggeration to 
say that upon that alone rests the fame of the work. The 
universal and perennial interest of Crusoe's problem on the 
uninhabited island was developed to the utmost by the author's 
skilful treatment. In the hero, Crusoe, who successfully 
overcomes all his difficulties not by the help of unusual powers 
or supernatural assistance, but by ingenuity, pluck, and hard 
labor, we have a universal type; the embodiment of efficiency 
and the ideal of the practical man. This very human char- 
acter is presented to us by Defoe with marvellous force and 
consistency. As Mr. Lee expresses it "every moment of his 
waking day is accounted for," we know his thoughts, his 
sensations, his hopes, his fears, his every movement. Crusoe 
is, however, primarily a man of action, and his sensations even 
in the classic instances of the discovery of the foot-print and 
Poll's calling him by name, are largely described in terms of 
the resultant action. The memoir structure is particularly 
happy, for it permits the hero to talk directly to the reader 
and gives an air of naturalness to the interpolated moraliza- 
tions, explanations, and running comments on the past. 

The second part, concerning Crusoe's adventures in " Three 

"''Accepted as Defoe's by James Crossley and Professor Trent. 



129 

Parts of the World," although giving a vivid relation of 
travels in China and Russia and displaying Defoe's usual 
accurate knowledge and firm grasp of the subject, comes as 
an anti-climax to the more interesting episodes on the island. 
In the Serious Reflections the didactic element which is prom- 
inent throughout the narrative becomes paramount. Defoe 
did not write Robinson Crusoe, to inculcate a moral lesson in 
the sense that Bunyan wrote Mr. Badman, but on the other 
hand, his didacticism is no superficial and perfunctory com- 
pliance with the prevailing taste. A further unity is given 
to the narrative by the fact that all Crusoe's disasters arose 
out of his discontent with that " state of life unto which it had 
pleased God to call him." It was this discontent which in- 
duced him to run away to sea in defiance of the wishes of his 
parents, it was discontent again that led him to leave Brazil 
on his disastrous trip, and it was discontent that led him to 
leave home and children to revisit his island. Defoe regarded 
this restlessness as an evidence of presumption and ungodliness, 
invariably leading to a reckless life and a scornful disregard 
of warnings and admonitions. Disaster brought the hero to a 
recognition of his evil life and hence to repentance and reform. 
Defoe's religion, as exhibited in his fiction,^^'^ is clear, practical, 
and very satisfactory, but painfully lacking in spirituality and 
emotion. He demanded little more than the acceptance of a 
general creed, compliance with certain ceremonies and observ- 
ances, and obedience to moral precepts, — in a word the religion 
of common sense. 

In Captain Singleton,'^^ Moll Flanders,^^ Colonel Jack,'^^ 
and Roxana,-^ Defoe combined material collected from the 

'"^ In some of his tracts, as, for example, Due Preparations for the 
Plague, a much more spiritual religion is expounded. 

** The Life, Adventures, and Piracies of the Famous Captain Singleton, 
etc., 1720. 

" The Fortunes and Misfortunes of Moll Flanders who was born in New- 
gate, etc., 1722. 

'" The History and Remarkable Life of the truly Honourable Colonel 
Jacque, vulgarly called Col, Jack, etc., 1726. 

^ The Fortunate Mistress ; or a History of the Life and Vast Variety of 
Fortunes of Mile, de Belau, etc., 1724. 
10 



130 

prolific criminal literature and the narratives of adventure. 
Except in so far as Defoe was dealing with crime from the 
point of view of the criminal, his narratives have little in 
common with the Spanish picaresque miscellanies. His 
models were the biographies of actual criminals, of which he 
himself wrote a number. With inimitable seriousness these 
very real, and very English, criminals tell us their plausible 
stories. They are not bad at heart, but are forced by circum- 
stances into their evil ways, gradually become hardened, and 
go from bad to worse. Selfish they certainly are and they 
always have an eye to the main chance, but they are rarely un- 
grateful or unkind, nor have they any of the roguishness, 
cynicism, or cruel deviltry of the picaro. They are never en- 
tirely happy or contented, but are perpetually longing to desert 
their evil ways for an honest life, or rather, what that life 
stands for — respectability. They never do reform, however, 
till well on in years, when a life of adventure has little attrac- 
tion. Capt. Singleton and Col. Jack, children of shame and 
social outcasts from childhood, become lawless sea rovers, 
the one a pirate, the other a contraband trader, and in the 
accounts of their voyages Defoe displays the most minute 
information as well as wonderful descriptive powers. Bob 
Singleton's trip across Africa is convincingly vivid and accu- 
rate. Moll and Roxana, likewise, are handicapped from child- 
hood, but not to such an extent as Bob and Jack. Moll, 
being pretty and clever, attracted the attention of a wealthy 
lady who brought her up almost like one of her own children. 
Her ruin was wrought by the eldest son of her patroness. 
Thus in the opening chapters we have a situation somewhat 
similar to that in Pamela, but Moll did not display the wit 
and resolution of Richardson's heroine. Neither Moll nor 
Roxana are distinctively feminine, in fact, the difiference in 
sex merely afifects the nature of their adventures. It is curi- 
ous that Defoe's characters although as substantial and, if I 
may say so, as tangible, as any in literature, possess little or 
no individuality — they are simply " human nature." 

In structure, these narratives, like Robinson Crusoe, are 
autobiographic. Roxana, the only one of Defoe's stories, in 



131 

which there is an endeavor to develop a plot, is, I think, his 
most studied contribution to prose fiction. 

Roxana, deserted by her husband, in order to obtain for herself the 
luxuries that she craves, deserts her children. For years she leads an 
evil, yet from her point of view, successful, life, but finally, when she has 
attained her ambition — a wealthy and titled husband — her ruin is brought 
about by the children she deserted. When her husband learns from them 
of her perfidious character he will have no more to do with her, and cuts 
her off absolutely in his will, so that she is taken to a debtor's prison, 
where, we are told, she dies repentant. (This part is in the continuation 
which may not be by Defoe.) 

Although Defoe seems to have tried to individualize Roxana, 
even to give her peculiarly feminine traits and mannerisms, 
he failed to make her quite human. She is too calculating to 
make an appeal to our sympathies like the impulsive Moll 
Flanders. The minor characters are still more inconsistent 
and unnatural. Yet Roxana is a notable piece of work, for in 
it Defoe went a little higher in the social scale and thus came 
nearer to the novel of manners, and, more important, attempted 
the " circular plot," which at this time was practically unknown 
except in the cumbersome romances and brief novelettes. The 
plot, it must be admitted, is clumsy, many of the episodes are 
extraneous and many of the situations forced, but surely as an 
experiment it is not deserving of unmitigated censure.-^* The 
didactic element is prominent for although Defoe chose crime 
for his subject and did not think it necessary to execute strict 
poetic justice by bringing all his heroes and heroines to an 
evil end, yet he tried to make his narratives as wholesome as 
possible, by emphasizing the miseries, uncertainties, and suffer- 
ings attendant upon vice. The next generation demanded a 
greater regard for the proprieties, and as a consequence. Noble 
revised Defoe's Roxana to make it conform to the Richard- 
sonian standard.^^ 

Defoe's other narratives, whether of real or fictitious char- 
acters, do not differ materially from those we have discussed. 

^" Cf. Chandler, Lit. of Roguery, ii, 296—98. 

"- The History of Mademoiselle de Beleau ; or the new Roxana, the fortu- 
nate Mistress, etc., F. Noble and T. Lowndes, London, 1775. The B. M. 
catalogue gives the date 1808; but Professor Trent tells me that in his copy 
the date 1775 is clearly printed. 



132 

In the justly praised Memoirs of a Cavalier (1720), and A 
Journal of the Plague Year (1722), he appHed his reportorial 
methods to the past and produced such graphic pictures of the 
preceding century that both works have often been regarded 
as literally true. In The History of the Life and Adventures 
of Mr. Duncan Campbell, and in one or two pamphlets-^ deal- 
ing with the " dumb philosopher " in which Defoe seems to 
have had some part, we have a more or less fictitious biography 
of Campbell in Defoe's usual convincing manner, combined 
with realistic pictures of the philosopher's clientele and 
anecdotes dealing with magic, apparitions, and the like. The 
supernatural seems to have had a fascination for Defoe, since 
time and time again he returned to discussions of it, as for 
example in The Political History of the Devil (1726), A 
System of Magick (1726), and An Essay on the History and 
Reality of Apparitions (1727). Domestic life does not 
figure prominently in the narratives, but many interesting 
anecdotes and illuminating descriptions of contemporary man- 
ners occur in the aforementioned Duncan Campbell (1720) 
in such treatises as The Compleat English Tradesman (1725), 
The Great Law of Subordination Considered (1724), a dis- 
cussion of the servant problem, and in manuals of conduct of 
which The Family Instructor (1718),^* and Religious Court- 
ship (1722) are the best' 

The first of these little treatises discusses problems affecting 
family life. For example, one of the first illustrations con- 
cerns filial obedience. In a family which had been most 
irreligious and particularly negligent about the observance 
of the Sabbath, both parents suddenly resolved to reform, and 
without the least warning, issued orders on Sunday morning 
that the children were not to use the coach, play cards, go 
calling, read secular literature, or in short, indulge in any of 
their accustomed worldly pleasures. The oldest son and 
daughter, irritated by the peremptoriness of the decree and 
angered by the ruthless destruction of their novels and plays, 

^As was remarked in connection with Mrs. Haywood, it is not quite 
clear which of these pieces are by Defoe and which by her. 

^A similar treatise, the New Family Instructor appeared in 1729. 



133 

were most impudent and insubordinate, and only after many 
tempestuous scenes were brought to a proper sense of their 
duty. A pleasant contrast was afforded by the pious and 
servile behavior of the younger children. Defoe presents this 
material in a series of dialogues, or little scenes, connected 
by the necessary explanations. In Religious Courtship he 
employs the same method to show '* the necessity of marrying 
religious husbands and wives only." A most attractive and 
wealthy suitor applied for the hand of the youngest of three 
sisters, thus proving he was seeking for her in particular and 
not merely for an alliance with the family. Although much 
flattered by his attentions, she resolved to obey the behest 
of her dying mother to marry only " a religious husband." 
Upon investigation, she found her promising suitor was of 
" no religion," so, though " it did violence to her inclinations," 
and brought down the wrath of her irreligious father, she re- 
jected him. In time the young gentleman was brought to 
a consideration of his evil ways and under the guidance of 
a good old man, a poor tenant on his estate, became a most 
devout Christian. And in due course he married the lady, 
with whom he lived very happily for the rest of his life. The 
second sister did not concern herself with her suitor's religion 
but " left it all to her father," with the consequence that she 
found herself married to a " Papist." The husband lived 
only a few years, and in a discourse with her sisters shortly 
after his decease his widow expatiated on the sorrows of 
marrying even the best of men if he were of different religious 
convictions. Of the didactic eldest sister we are merely told 
that she married " a worthy man." In both these manuals 
there are other stories, and in all cases the slight plot is almost 
hidden by the didactic material. The characters are but 
slightly individualized, — indeed, are but mouth-pieces to ex- 
pound Defoe's theories. Nevertheless, in these manuals De- 
foe brought the conduct-book as close to the novel of manners 
as was possible without running into the narrative form; we 
have a rudimentary plot, outlines of the characters, and a 
rough description of the setting and accessories. Moreover, 
in these two series of dialogues, not only do the characters talk 



134 

with much naturalness and directly to the reader, but each 
episode is discussed from several points of view, a device 
somewhat similar to that employed by Richardson in Clarissa 
Harlowe. 

On Defoe's purely literary qualities — his admirable style, 
his various devices for giving the impression of verisimilitude, 
his wonderful powers of description and narration — it is not 
necessary to comment. Most of these devices may be found 
in rudimentary form in the works of his predecessors, Mrs. 
Behn, Mrs. Manley, John Bunyan, Mrs. Haywood, and the 
host of anonymous journalists, but never before had they been 
so artistically perfected and combined. And finally, Defoe 
was a man of genius ; never before and rarely, if ever, since, 
has a writer been able to give to the fictitious such a semblance 
of the actual. 

Defoe's influence on the development of prose fiction is very 
difficult to estimate. All his works, and particularly Robinson 
Crusoe were immediately popular in both England and France. 
But in them, as we have seen, the pseudo-journal and auto- 
biography culminated, further development along these lines 
was impossible. Mrs. Aubin, who made a point of imitating 
Defoe, simply added a goodly portion of adventure to a senti- 
mental romance, and Abbe Prevost-^ whose somewhat closer 
imitation of Defoe, Le Philosophe anglais (1732-39), was 
translated as The Life and Adventures of Mr. Cleveland, 
natural son of Oliver Crornzvell,^^ in 1736, added a political 
scandal, a love story, and sentimental descriptions of the In- 
dians. To the novel of manners and sentiment, Defoe con- 
tributed directly, very little, but both The Family Instructor 
and Religious Courtship afforded many suggestions both as 
regards matter and manner. It would be interesting to know 

^ Abbe Antoine Frangois d'Exiles who lived from 1691 to 1763, wrote 
many romances, chief of which is Memoires d'un Homme de Qualite 
(1728-32), containing the famous story of Manon Lescaut. He wrote later 
the Doyen de Killerine, historie morale (1735), and translated among other 
things, Richardson's Pamela, Clarissa, and Grandison. Cf. Larousse, Dic- 
tionnaire Universel da XIXe siecle, 

™ This has even been attributed to Defoe. 



135 

if Richardson was particularly indebted to them.^^ On the 
whole, Defoe's significance in the history of fiction, over and 
above his actual contribution, rests not on the introduction of 
new forms or subjects, but on the perfecting of what was 
already in existence ; and his influence is reflected less in imita- 
tions than in the firmer grasp, the more vigorous style, and 
the greater naturalism, displayed in all forms of literature. 

" It is an interesting fact that Richardson printed and continued Defoe's 
Tour thro' the whole Island of Great Britain. 



CONCLUSION 

In the foregoing discussion it has often happened that works 
of small value have been emphasized, while famous classics 
have been despatched in a few lines, and that at times, perhaps, 
too little attention has been paid to chronology, but the 
writer hopes she has succeeded in conveying a fairly accurate 
idea of the prose fiction current between 1600 and 1740 and 
of the tendencies which affected its development. Reviewing 
the subject very hastily from the chronological point of view, 
we may distinguish three periods; the first, extending from 
1600 to 1660 or thereabouts, is characterized by the predomi- 
nance of romance; the second, extending from about 1660 
to the close of the century, by the vogue of the continental 
novels; and the third and final period extending from 1700 
to 1740, by a growing independence and increased activity. 
The first period produced no English narratives of merit or 
of historical importance, but the famous sentimental, pastoral, 
allegorical and heroic romances of France — Astrce, Argenis, 
Clcopatre, Cyrus, etc. — were given an English dress. More 
popular than any of these was Cervantes's great comic romance 
Don Quixote, which indicates that a strong taste for realism 
already existed. About 1660, this taste for realism became 
so strong that the romances were superseded in popularity 
by realistic French and Spanish stories developed from the 
novelle and greatly modified during the process. Their chief 
characteristics, immorality, impudence, pretended veracity, 
abundant detail, and lively colloquial style, were imitated by 
Mrs. Behn, Mrs. Manley and others. Also to this period 
belong the influential Letters of a Portugese Nun, which had 
so marked an effect on the development of sentimentality and 
on the realism of emotional expression. Likewise to these 
years we owe the admirable narratives of John Bunyan, 
although the latter scarcely belong to the history of prose 
fiction. 

136 



137 

During the third and last period were pubHshed the narra- 
tives of both Defoe and Swift, which fact in itself would be 
sufficient to make these years memorable, were they not note- 
worthy on other scores. In the first place, there was a change 
in the prevailing taste, due partly to a moral reaction and 
partly to various political, social, and economic causes which 
brought about changes in the character of the reading 
public. Sentimentalism, didacticism, a love of the picturesque 
and the sensational, a partiality for themes from domestic life, 
and a strong bent toward realism began to characterize fiction. 
In the development of structure and style, rapid progress was 
made. The periodical afforded an opportunity for the per- 
fecting of such subsidiary forms as the " character," the letter, 
and the dialogue. In the Sir Roger de Coverley Papers the 
character-sketch culminated, for without plot further develop- 
ment was impossible. Likewise Defoe had perfected the 
simple narrative of adventure of the autobiographical type, 
and together with Mrs. Rowe had exploited the conduct-book. 
It remained to combine the various elements, to utilize the 
episodes of family life and to develop the plot. Some prog- 
ress was made along these lines in the domestic histories of 
Mrs. Haywood, in the rambling stories of Mrs. Aubin, and in 
that little group of anonymous novels of which typical exam- 
ples are Lindamira, Love in a Madhouse, and Alexis and 
Sylvia. During the forty years from 1700 to 1740, the rise 
of the novel of manners was particularly rapid. We can per- 
ceive direct progress toward Richardson; his device of the 
letters, his favorite situation of virtue contending with vice, 
his stock characters of the deluded girl and the gentlemanly 
rake, his excess of detail, his sentimentality, and his morality, 
not only existed, but were common. 



APPENDIX A 

SUMMARY OF PARTHENISSA 

"The sun was already so far declined that the heat was 
not offensive, when a stranger richly armed, and proportion- 
ately blest with all the gifts of Nature and education, alighted 
at the Temple of Hieropolis in Syria, where the Queen of Love 
had settled an Oracle, as famous as the Deity to whom it had 
been dedicated. The stranger . . . commanded his servant to 
enquire out some retired lodging for him, which whilst he was 
so doing, his master walked about the sacred place, without so 
much as regarding the beauty and rareness of the structure 
and with so languishing and careless a pace, that those which 
considered it, easily judged 'twas chiefly the distemper of the 
mind which had so strong an influence over his body."^ The 
priest Callimachus immediately perceived from the elegance of 
his manner that he had a guest of no mean rank, and with 
much humility begged him to unburden his breast. After 
many tears, sighs and apologies " for these effeminacies," the 
hero began his dolorous tale. His name was Artabanes, scion 
of the Median and Persian royal families, a general in the 
Persian army and the ardent lover of the divine princess Par- 
thenissa. Long had he concealed his passion when there 
arrived at court the Ethiopian prince, Ambixerles, with 
pictures of his twenty-four ladies, who challenged to mortal 
combat, any knight so hardy as to maintain any woman living 
or dead, to exceed in beauty his peerless princesses. Arta- 
banes, as the ' servant ' of Parthenissa, immediately entered 
the lists and very shortly brought the Ethiopian to the feet of 
his mistress. In the fray, however, the hero had met with 
several injuries which, combined with his anxiety lest his fair 
mistress should be more enraged at his publishing his passion 

^ This is the conventional opening and is a direct imitation of the Greek. 
This episode occurs in Polexandre. 

138 



139 

than pleased at the estabHshment of her perfection, brought 
him to such a sorry pass that had not the object of his affec- 
tion, the fair Parthenissa herself, condescended to visit him, 
death would surely have carried him off. No sooner was he 
recovered than he was forced to enter the lists against a rival 
for the princess's favor, and a formidable rival too, no less a 
person than the King's favorite general, Surenna. The hero 
once more proved his prowess and his magnanimity, for having 
brought his opponent to the earth he graciously spared his life. 
Surenna was unworthy of such treatment since, being deter- 
mined that Artabanes should not enjoy the favor of the lady, 
he resorted to the trick of dropping, in a spot where he knew 
the guileless Artabanes would surely find it, a forged note, 
wherein was indicated that he (Surenna) and the fair Par- 
thenissa were on the friendliest terms. Artabanes found it, 
read it, believed it, and without more ado departed straightway 
for Rome. Here the narrator had occasion to mention his 
friend Artavasades and forthwith told of that unhappy man's 
love for the peerless Altazeera, whom the king had designed 
for Pacorus. To return to the main thread ; Rome proved too 
gay for the melancholy Artabanes and he determined to re- 
move to the Alps where he might nurse his sorrow in soli- 
tary grandeur, but, just as he was departing, a friend arrived 
from Persia, who laid bare Surenna's perfidy and the match- 
less constancy of the divine Parthenissa. [Here the feelings 
of the narrator overcame him, and he let the recounting of his 
adventures devolve upon his faithful servant Simander.] 

When the generous Artabanes learned the truth, he set out 
for Persia, but on the way was seized by pirates and sold as 
a slave to Pompey. He soon managed to escape, aroused 
his companions and came forth at the head of an army as the 
historic Spartacus. He took Cyprus, where among his 
prisoners were Perolla and Isadora, who took turns in telling 
their woful history. Like Romeo and Juliet they were lovers 
belonging to rival houses between which there existed a bitter 
feud. And " although Perolla many times saved the life of 
Isadora's father, and though he deserted his own parent in 
the crisis of a battle for the sake of his fair mistress," her 



140 

father remained resolutely obstinate and designed her for 
Flamminius. That despised suitor was no sooner acquainted 
with the situation than he did all in his power to help the 
lovers. Then came Hannibal who took them prisoners and 
himself fell in love with the charming Isadora. To court 
her he gave over the toils of war to Maharbal, and at last we 
know why he did not march to Rome — Isadora persuaded 
him not to destroy the city of her birth. Death carried off 
Hannibal and the lovers returned to Cyprus where they were 
taken prisoners by Spartacus, before whom they laid the case 
of their thwarted love. The noble Spartacus having heard 
their tale and also that of their parents, decided in favor of 
the lovers and had them married in the presence of the assem- 
bled army and suddenly repentant fathers. At this point a 
messenger arrived who informed Spartacus, alias Artabanes, 
that Surenna was poisoning the mind of the faithful Par- 
thenissa, whereupon the general set sail for Persia. 

Simander had reached this point when narrator and listener 
were startled by a great noise and, rushing toward the woods 
where they had seen Artabanes disappear, met him returning 
with a knight he had rescued from assassins. The stranger 
proved to be the valiant Artavasdes, whose love affair Arta- 
banes had confided to the priest. After much persuasion he 
was induced to continue his story from the time of his banish- 
ment. During his absence pressure had been brought to bear 
upon the fair Altazeera to force her to marry the son of 
Mithridates, and upon his fortuitous death, the Prince Pacorus. 
The latter was severely wounded in battle, and Artavasdes, 
thinking death might ensue, determined to visit his lady. To 
this end he disguised himself as a menial, entered the 
king's service, and managed to be continually with the princess. 
But when he discovered himself, the lady fainted in his arms, 
which episode having been viewed by an enemy, would cer- 
tainly have brought about the ruin of the pair, had not the 
ready lie of a servant and the generosity of Pacorus (who had 
miraculously recovered) come to the rescue. Shortly after- 
wards, Pacorus married Altazeera and the former, not being 
of a jealous disposition, treated the lover with great honor and 



141 

consideration and even went so far as to invite him to his 
court. But the broken-hearted Artavasdes preferred to retire 
to the Temple at HieropoHs. 

Simander again took up the story of his master, and we are 
informed that Artabanes, after landing in Persia, came upon 
two men (only survivors of some scores) engaged in a death 
struggle, while a beautiful woman wearing a blue veil was being 
drawn wildly about the meadow by terrified horses. Without 
more ado, the hero immediately assisted the weaker of the 
combatants, but nevertheless it was not long before the latter 
was laid helpless upon the turf. The victor called a halt, 
proved himself to be Artabanes' friend, and explained 
that he had been fighting with Surenna for the possession of 
Parthenissa (the lady in the chariot) whom that villain had 
abducted. There were explanations and apologies on the part 
of Parthenissa and Surenna (who was not killed after all) 
and the whole party set out for home where they arrived after 
many adventures. On the return to court new trouble was in 
store for the lovers, for the King himself had fallen a victim 
to the charms of the peerless Parthenissa. Consequently, it 
was not long before Surenna, whom the king now regarded as 
a rival, was arrested on some pretext and executed in the 
public place amid the loud lamentations of the assembled mul- 
titude. Parthenissa, regarding her situation as hopeless, drank 
poison, and as in the instance of Cleopatra, her women shared 
her fate. As Simander was concluding his account, Cal- 
limachus received an answer from the oracle: 

From Parthenissa's ashes I will raise 

A Phoenix, in whose Flames thou shalt be blest ; 

Wait then about this Temple a few days, 

And all thy Torments shall be crowned with Rest. 

Despair not Artavasdes, since the time. 
Predestined for thy sufferings is but brief ; 
Fortune unto thy virtues shall resign ; 
And perfect joy, succeed to equal Grief. 

Go both and sacrifice to that fair Boy, 

Who did inspire my highest Grief and Joy.* 

'Parthenissa, p. 523. 



142 

While pondering upon the significance of this cryptic reply, 
the attention of the whole party was distracted by the landing 
of a youth and two beautiful ladies, one of whom was the 
exact image of Altazeera and the other of Parthenissa. They 
soon passed out of sight and the lovers marvelled much, but 
the generous Artavasdes knew his lady was a queen in Media 
and the noble Artabanes was equally sure his lady was dead, 
and both were certain that neither lady could be guilty of in- 
constancy. While they sat there waiting for the return of the 
strangers, Callimachus related his adventures. His real name 
was Ariobazanes, King of Pontus. He had madly loved 
Statira, daughter of Mithridates, and in return for the in- 
numerable victories he had won for her father, had been 
promised her hand, but at the last moment Mithridates dis- 
covered that the King of Cyprus to whom he had formerly 
betrothed his daughter was not, as rumor reported, dead, so he 
broke his promise to Ariobazanes and constrained poor Statira 
to marry the King of Cyprus. The heart-broken lover had 
retired to Hieropolis and become a priest to Venus. 

Here the story ends, or rather breaks off, leaving the reader 
to unriddle the oracle and guess who the strangers were. 



BIBLIOGRAPHY 

WORKS OF GENERAL REFERENCE 

This does not pretend to be a complete list of all the works 
bearing upon the subject but only of those found most helpful 
in the preparation of this study. 

Charlanne, Louis, V Influence Frangaise en Angleterre au XV IP 

siecle. Paris, 1906. 
Cross, W. B., Development of the English Novel. New York, 

1899. 
Dictionary of National Biography. Ed. Leslie Stephen and Sid- 
ney Lee. London, 1889-94. 
Dunlop, J. C, History of Fiction. New ed., revised with 

notes, appendices, and index by Henry Wilson. 2 v. 

New York, 1906. 
Ehrenthal, H. N., English Novelists. Rostock, 1874. 
Elton, O., Augustan Ages. (Periods of European Literature, 

V. viii.) New York, 1906. 
Forsyth Wm., Novels and Novelists of the Eighteenth Century. 

London, 1871. 
Fiirst, Rudolf, Die Vorldufer der Modernen Novelle im achtzehn- 

ten jahrhundert. Halle, 1897. 
Grierson, H. J. C., The First Half of the Seventeenth Century. 

Edinburgh, 1906. 
Hallam, H., Introduction to the Literature of Europe in the 

fifteenth, sixteenth, and seventeenth centuries. 3 v. Lon- 
don, 1873. 
Hazlitt, W. C., Lectures on the English Comic Writers. London, 

1819. 
Hettner, H., Geschichte der Englischen Litteratur (1660-1770). 

5th ed. Braunschweig, 1894. 
Hume, M., Spanish Influence in English Literature. London, 

1895. 
JuUeville, Louis Petit de, Histoire de la Langue et de la 
Litterature frangaise des origines a igoo. 8 v. Paris, 
1896-99. 

143 



144 

Jusserand, J. J., English Novel in the Time of Shakespeare. 

London, 1890. 
Kelly-Fitzmaurice, J., History of Spanish Literature. New 

York, 1898. 
Koerting, P. H,, Geschichte des franzosischen Romans im XVII 

jahrhundert. Oppeln, 1891. 
Lanier, S., The English Novel. New York, 1900. 
Le Breton, A., Le Roman au dix-septieme si^cle. Paris, 1890. 
Masson, D. British Novelists and their Styles. Revised 

ed., Boston, 1859. 
Morillat, P., Le Roman en France. Paris, 1895. 
Perry, B., A Study of Prose Fiction. New ed. Boston, 1903. 
Raleigh, W., The English Novel. Revised ed. New York, 

1904. 
Reynier, G., Le Roman Sentimental avant VAstree. Paris, 1908. 
Saintsbury, G., Essays on French Novelists. 2d ed. London, 

1891. 
Scott, M. A. E., "Elizabethan Translations from the Italian" 

in Publ. Mod. Lang. Assn. for 1895. x. 249-295. 
Stoddard, F. H., The Evolution of the English Novel. New 

York, 1900. 
Traill, H. D., Social England. New York, 1895-97. 
Tuckerman, B., History of English Prose Fiction. New York, 

1900. 
Underhill, J. G., Spanish Literature in the England of the Tudor s. 

New York, 1899. 
Upham, A. H., The French Influence in English Literature from 

the Accession of Elizabeth to the Restoration. New York, 

1909. 
Utter, R. P., Studies in the Origin of the English Novel. With 

special reference to the influence of the periodical essay. 

Unpublished Harvard Dissertation. 1906.' 
Waldberg, M. F. von, Der empfindsame Roman in Frankreich. 

vol. i. Strasburg and Berlin, 1906. 
Warren, F. M., History of the Novel previous to the seventeenth 

century. New York, 1895. 

SPECIAL REFERENCE 

In addition to the general works cited, the following have 
been found helpful in dealing with the special topics. 



145 

Chapter I. Romances and Anti-Romances 
Section i. Chivalric Romances 
Ashton, J., Romances of Chivalry. New York, 1887. 
Southey, R., Amadis of Gaul translated from the Spanish version 
of Garcia Ordonez de Montalvo. New edition, 3 vols. 
London, 1872. 

Section 2. Classical Romances 

Abbott, F. F., "Petronius: A Study in Ancient Realism," 
in The Sewanee Review, 1899, vii, 435-443. 

Collegnor, Albert, Petrone en France. Paris, 1892. 

Goodwin, Ch. J., "Romance Writing among the Greeks," in 
The Sewanee Review, v. 290 ff., 1897. 

The Greek Romances of Heliodorus, Longus, and Achilles Tatius, 
ed. Rowland Smith. (Bohn's Library.) London, 1901. 

Lucian, Works tr. by H. W. Fowler, Oxford, 1905. 

Oeftering, M., "Heliodor und seine Bedeutung fiir die Lit- 
teratur" in Litter arhistorische Forschungen, heft 18, 
Berlin, 1901. 

Petrone, Apulee, Aulu-Gelle; Oeuvres Completes, avec la tra- 
duction enfrangaise. Pub. sous la direction de M, Nisard. 
Paris, 1856. 

Rhode, E., Der Griechische Roman und seine Vorlaiifer. Leip- 
zig, 1876. 

Trimalchio's Dinner from the Satyricon of Petronius. Ed. H. 
T. Peck. New York, 1898. 

Section j. Arcadian Romances 
Brunhuber, K., Sir Philip Sidneys Arcadia und ihre Nach- 

Idufer. Niirnburg, 1903. 
Crossley, J., Sir Philip Sidney and the Arcadia. London, 

1853. 
Davis, Sarah, M., The Life and Times of Sir Philip Sidney. 

New York, 1859. 
Greg, W. W., Pastoral Poetry and Pastoral Drama. London^ 

1905. 
Marsan, Jules, La Pastorale Dramatigue. London, 1905. 
Rennert, H. A., "The Spanish Pastoral Romances" in Pub. 

Mod. Lang. Assn., 1892, v. viii. 
11 



146 

Sidney, Sir P., The Countess of Pembroke's Arcadia, ed, O. 
Sommer. New York, London, 1891. 

Section 4. Euphuistic Romances 

Greene, Robert, Works, ed. Grosart. (Huth Libr.) 6 v, 

London, 1883-85. 
Lodge, Thomas, Works. Hunterian Club Edition. Glasgow, 

1883. 
Lyly, John, Works. Ed. Bond. Oxford, 1902. 
Wilson, J. D., John Lyly. Cambridge, 1905. 
Wolff, S. L., "Robert Greene and the Italian Renaissance," 

in Englische Studien, 1906. 
''Source of Euphues; the Anatomy of Wyt" in Mod. Philol.y 

vii, 577-85. April, 1910. 

Sections 5 and 8. Heroic and Miscellaneous Romances 

Ballard, George, Memoirs of Several Ladies of Great Britaifi. 

Oxford, 1752. 
Cousin, Victor, La Societe frangaise au XV IT siecle. 2 v. 

Paris, 1886. 
Crane, Thos. P., La Societe frangaise au XVI P siecle. New 

York, 1900. 
Les Heros de Roman, Introduction, New York, 1902. 
Grosse, K., John Crowne's Komodien und hurleske Dichtung. 

Leipzig, 1902. 
Huet, P. D., Lettre de M. Huet d M. de Segrais de Vorigine des 

Romans, in Huetana (Ana, v. viii). Amsterdam and 

Paris, 1670. 
Koerting, P. H., Geschichte des franzosischen Romans im XVII 

Jahrhundert. Oppeln, 1891. 
Le Breton, A., Le Roman au Dix-septieme Siecle. Paris, 1890. 
Morrillat, P., Le Roman en France. Paris, 1895. 
Osborne, Dorothy, Letters to Sir William Temple. Ed. Parry. 

London, new ed., 1888. 
Philips, Mrs. Katherine, Letters of Orinda to PoUarchus. 

2d ed. London, 1729. 
Reynier, G., Le Roman Sentimental avant VAstree. Paris, 

1908. 



147 

Toldo, P., "Le Courtisan dans la Htterature fran^aise et ses 
rapports avec I'oeuvre de Castiglione" in A rchiv ftir das 
Studium der neiiren Sprachen nnd Litteraturen. March, 
1900, iv, n. s., iv, 75 sq. 

Waldberg, M. F. von, Der empfindsame Roman im Frankreich. 
Strasburg and Berlin, 1906. 

Wells, B. W., "La Calprenede and Scudery" in The Sewanee 
Review, 1898, vi, 43955. 

Section 6. The Political and Allegorical Romances 
Bergerac, Savinien Cyrano de, Oeuvres comiques, galantes et 
litteraires. Nouv. ed. . . . avec des notes par P. L. Jacob 
Paris, 1858. 
A Voyage to the Moon. Ed. C. H. Page. New York, 1899. 
Defoe, Daniel, The Consolidator ; or, Memoirs oj sundry transac- 
tions from the world in the moon; tr. from the lunar lan- 
guage. London, 1705. 
Garnier, C. G. T., Voyages Imaginaires. Paris, 1787. 
Harrington, James, Commonwealth of Oceana; with an intro- 
duction by Henry Morley. London, 1887. 
Lichtenberger, A., Le Socialisme utopigue. Paris, 1898. 
More, Thos., Utopia in Ideal Commonwealths . Ed. Andrews. 

(Universal Classics Library.) New York, 1901. 
Neilson, W. A., "Nova Solyma, a romance attributed to John 

Milton" in Mod. Philol. i, 525, April, 1904. 
Nova Solyma. The Ideal City, or Jerusalem Regained. Ed. 

W. Begley. New York, 1902. 2 vols. 
Quevedo y Villegas, Francisco Gomez, Comical Works. Tr. 

from the Spanish by John Stevens. London, 1708. 
Schmidt, F., John Barclay's Argenis. Eine litterahistorische 

Untersuchung. Berlin and Leipzig, 1904. 
Swift, J., Rrose Works. Introduction by W. E. H. Lecky. 

London, 1 897-1908. 
Von Mohl, P., Die Geschichte und Litteratur der Staatswissen- 
schaften. Tubingen, 1855-58. 

Section y. Anti-Romances 
Cervantes, Miguel, Complete Works. Ed. J. Fitzmaurice-Kelly. 
Glasgow, 1901-03. 



148 

Chandler, F. W., The Literature of Roguery. 2 vols. New 

York, 1907. 
Romances of Roguery. Pt. I. The Picaresque Novel in 

Spain. New York, 1899. 
Claretie, Leo, Le Roman en France au debut du 18' siecle; 

Lesage, romancier, d'apres de nouveax documents. Paris, 

1890. 
Furetiere, A., Le Roman Bourgeois . . . aves notice et notes 

par P. Jannet. 2 v. 1868. 
Kotz, F. O., "Nashe's 'Unfortunate traveller' und Head's 

'English rogue,' die beiden Hauptvertreter des englischen 

Schelmenromans " in Anglia, xxii, 81-140, 1899. 
Lesage, A. R., Oeuvres Choisies. Amsterdam, 1783. 
'^dishe,Thos., Complete Works. Ed. Grosart. London, 1883- 

85- 
Works. Ed. Ronald McKerrow. London, 1904-08. 

Quevedo y Villegas, F. G., The Spanish Sharper, ed. H. E. 

Watts. London, 1892. 
Rabelais, Francois, Works tr. by Sir Thomas Urquhart. 

(Maitland Club Reprint.) 1838. 
Rabelais, Ed. C. H. Page. New York, 1905. 
Roy, E., La Vie et les Oeuvres de Charles Sorel. Paris, 1891. 
Scarron, Paul, Oeuvres. Nouv. ed. Paris, 1752. 

Comical romance and other tales done into English by Tom 

Brown, John Savage and others. With an introduction 

by J. J- Jusserand. London, 1892. 
Wells, B. W., "Sorel's Counterblast to the Astree" in The 

Sewanee Review, v. 279. 1900. 

Chapter II 
Canby, H. S., The Short Story in English. New York, 1909. 
Gosse, E. "A Nun's Letters" in Fortn. Review, xlix, o. s., 

p. 5o6ff. 
Letters from a Portuguese Nun to an Officer in the French Army. 

Translated by W. R. Bowles in 181 7 and reprinted by 

Brentano, New York, 1904. 
The Letters of a Portuguese Nun. Translated by Edgar 

Prestage. Repub. by Thos. Mosher. Portland, Maine, 

1904. 



149 

Mrs. Behn 

Kavanagh, J., "The Life and Memoirs of Aphra Behn" in 

English Women of Letters. London, 1863. 
Lichtenberger, A., "Aphra Behn" in La Socialisme Utopique, 

pp. 1-30. Paris, 1898. 
Plays, Histories ajid Novels of the Ingenious Mrs. Behn. 

Complete in six volumes. London, 1871. 
Siegel, P., "Aphra Behn's Gedichte und Prosawerke," in 

Anglia, xxv, 86-128, 329-385. 

Chapter III 
The Contributory Forms 

Baldwin, C. S., "The Relation of the Seventeeth Century 

Character to the Periodical Essay" in Pub. Mod. Lang. 

Ass. of Am., xviii, 1903, and xix, 1904. 
"Character Books of the Seventeenth Century in Relation 

to the Development of the Novel" in Western Reserve 

Bulletin, Oct., 1900. 
Burr, A. R., The Autobiography. A Critical and Compara- 
tive Study. Boston and New York, 1909. 
Fox-Bourne, H. R., English Newspapers. 2 v., London, 

1887. 
Greenough, C. N., Studies in the Development of Character 

Writing. Harvard Dissertation, 1904, Unpublished. 
Morley, Henry, Character Writings of the Seventeenth Cen- 
tury. Carisbrooke Library. London, 1891. 
The Spectator, ed. H. Morley. London, 1891. 
Mrs. Jane Barker 

Mrs. Jane Barker: Ein Beitrag zur Englischen Literatur- 

geschichte. Munich, 1906. 
The Oriental Tale 

The Oriental Tale in England in the Eighteenth Century. 

By Martha Pike Conant. New York, 1908. 
Richardson 

Hazlitt, W. C, "Samuel Richardson" in Lectures on the 

English Comic Writers. London, 18 19. 
Thompson, C. L., Samuel Richardson, A Biographical and 

Critical Study. London, 1900. 
Thorne, W. B., "Samuel Richardson — Famous Printer" in 

The Library, n. s., HI, 1901. 



150 

Chapter IV 
The Popular Fiction 

Ashton, J,, Chapbooks of the Eighteenth Century. London, 1882. 

Chandler, F. W., The Literature of Roguery. New York, 1907. 

Deloney, Thos., The Gentle Craft. Ed., A. F. Lange, Berlin, 

1903. 

The History of John Winchomh. Ed. J. O. Halliwell, 1859. 

Halliwell-Phillipps, J. O., A Catalogue of Chapbooks, Garlands, 

and Popular Histories. London, 1849. 

Descriptive Notices of Popular English Histories. Percy 

Society Pub., 1848. 
Barnabae Itinerarium; or, Barnabee's Journal. Ed J. O. 

Halliwell, 1876. 
Paris and Vienne; the story of the Noble Ryght Valyaunt 
Worthy Knight Parys and the Fayr Vyenne. Roxburghe 
Club Libr., 1868. 
The Tinker of Turvey or the Canterbury Pilgrims. Ed. J. O. 

Halliwell, 1859. 
Westward for Smelts, or the Waterman' s fare of mad merry 
Western wenches whose tongues albeit, like Bell-clappers 
they never leave ringing yet their tales are sweet and will 
much content you. Written by Kinde Kit of Kingstone. 
Ed. for the Percy Soc, 1848, v. xxii. 
Thorns, Wm. J., Early English Popular Histories. Revised 

ed., London, 1907-08. 
John Bunyan 

The Life and Death of Mr. Badman and the Holy War. Ed. 

J. Brown. London, 1905. 
Works. Ed. George Offor. 3 v. London, 1853. 
Browne, J., John Bunyan. His Life and Times. 3d ed. 

London, 1887. 
Dowden Edward, Puritan and Anglican. Pp. 231-278. 

London, 1901. 
Grier, J. B., Studies in the English of John Bunyan. 1872. 
Hazlitt, W. C, "Bunyan and his Prototypes" in Thoughts 

in Solitude, ch. xv, London, 1884. 
Nevins, J. B., "On the influence of poHtical and religious 
allegory on European thought for 600 years and a com- 



151 

parison between a Pilgrim's Progress by a French monk 
in the fourteenth century and Bunyan's P. P. in the seven- 
teenth." No. 53 in Proceedings of the Lit. and Phil. 
Soc. of Liverpool, 1898-99. 

Wharey, J. Blanton, A Study of the Sources of Bunyan's 
Allegories. Univ. of Penn. Publ., 1904. 

Defoe 

Novels and Miscellaneous Works. . . . including all contained 
in the ed. attributed to . . . Sir Walter Scott, with additions. 
20. V. Oxford, 1840-41. 

Romances and Narratives. Ed. G. A. Aitken. London, 1895. 

Aitken, G. A., "The Apparition of Mrs. Veal" in The Nine- 
teenth Century, xxxvii, 95, 1895. 

Lee, W., Daniel Defoe; his Life and Newly Discovered 
Writings, i'/i6-2g. London, 1869. 3 v. 

Stephen, Leslie, "Defoe's Novels" in Hours in a Library, 
V. i, pp. 1-63. New ed.. New York, 1907. 

Trent, W. P., "Bibliographical Notes on Defoe" — in the 
Nation, June 6, July 11, Aug. 15 and Aug. 29, 1907, i. e., 
vol. 84, p. 515, and vol. 85, pp. 29, 149, 180. 

BIBLIOGRAPHICAL REFERENCE WORKS 

Arber, Edward, The Term Catalogues, 1668-1709 A. D., with a 

number for Easter term, 1711, etc. London, 1903-06. 
Transcript of the Registers of the Stationers' Company . . . 

of London. London, 1 875-1 894. 
Betz, Louis P., La Litterature Comparee, essai bibliographique. 

Ed. F. Baldensperger. Strasburg, 1904. 
Bibliographical Miscellany. Ed. Adam Clarke. London, 1806. 
Bibliographic des ouvrages relatifs a Vamour, aux femmes, au 

marriage et des livres facetieux. Ed. Jules Gay. 4' ed. 

. . . augmentee . . . par J. Lemonnyer. Paris, 1 894-1 900. 
Catalogue of printed books in the British Museum Library. 

80 vols. 1882-99. Supplement, 9 v., 1900-04. 
Catalogue of the printed books in the Library of the Faculty of 

Advocates. 6 v. and sup. i v. Edinb., 1867-1879. 
Catalogue of the printed books in the Bodleian Library, Oxford. 

Unpublished. 
Bliss, Ph., Catalogue of the first portion of the extensive, interesting 



152 

and valuable library formed by the late Rev. P. Bliss. Lon- 
don, 1858. 
Collier, J. P., Bibliographical and Critical Account of the rarest 
books in the English language. 2 v. London, 1865. 
(Collin). 
Catalogue of Lord Ellesmere's Bridgewater Library. London, 

1837. _ 
Illustrations of Old English Literature. London, 1886. 
Cushing, Wm., Initials and Pseudonyms. A Dictionary of 

Literary Disguises. New York, 1885. 
Ellis and Elvey, later Ellis and White, Catalogues [booksellers' 

lists]. 
Fry, J., Bibliographical Memoranda in Illustration of Early 

English Literature. Bristol, 18 16. 
Halkett, Sam., and Laing, John, A Dictionary of the Anony- 
mous and Pseudonymous Literature of Great Britain. 

Edinburgh, 1882. 
Halliwell-Phillipps, J. O., Books of Characters, illustrating 

the habits and manners of Englishmen from the Reign of 

James I to the Restoration. 
Catalogue of Chap-books, Garlands and Popular Histories. 

London, 1849. 
Descriptive Notices of popular English histories. (Percy 

Society, v. 23.) 1848. 
A Handlist of the Early English Literature in the Malone 

Collection from the Catalogue in the Bodleian. London, 

i860. 
Hazlitt, Wm. C, Collections and Notes, ist, 2d and jd series 

and supplements. London, i860, 1892. 
Huth, H., Catalogue of the Printed Books, Mss., Autograph 

Letters and Engravings collected by H. Huth. 5 vols. Lon- 
don, 1880. 
Langbaine, G., Lives and Characteristics of the English dramatick 

Poets of the seventeenth century. . . continued by Ch. 

Gildon. London, 1699. 
Lawler, J., Book-Auctions of the Seventeenth Century. London, 

1898. 
Lowndes, Wm., Bibliographer' s Manual of English Literature. 

New ed. H. G. Bohn. 6 vols. London, 1864. 



153 

Quaritch, J., Catalogue of Romances of chivalry . . . the 

literature of fiction and imagination from Homer to the 

lyth Century. 1885. 

Walpole, H., Catalogue of the Royal and Noble Authors of England 

with lists of their works. 2 v. New ed. Edinburgh, 1792. 



CHRONOLOGICAL LIST OF THE PROSE FICTION 
FIRST PRINTED IN ENGLAND BETWEEN 
1600 AND 1740 

In the following bibliography, which is very far from com- 
plete, I have deliberately omitted all contributory forms such 
as character-sketches, dialogues, periodicals, conduct-books, 
chap-books, etc., unless they seemed unusually rare or were 
mentioned in the text, but have given some books of travel. 

Directly after the title, in parenthesis, is given the source 
of my information, the library shelf-number, — Col (Columbia), 
Harvard, Advocates, Bodleian, or, if undesignated, the British 
Museum — the 5. R. (Stationer's Register), the T. C. {Term 
Catalogues) , or the reference work. In the last instance, I 
have simply used the author's name or editor's name as that 
was most easily identified in the alphabetical list of biblio- 
graphical sources. The only exception is in the case of Dr. 
Chandler : his Literature of Roguery I have indicated by Lit. 
of R., his Romances of Roguery by R. of R. 

1600 

1. The Blackdog of Newgate. By Luke Hutton. Possibly 

published earlier. {Lit. of R., i. 112.) 

2. The Heroical Adventures of the Knight of the Sea. For 

Wm. Leake. (ColHer, ii. 217.) 

3. The Strange Fortunes of Two Excellent Princes [Fantimo 

and Penillo] in their lives and loves to their equall 
Ladies in all the titles of Honour. By N. Breton. 
(Bodleian). 

1601 

4. The Strangest Adventure that ever happened . . . con- 

taining a discourse . , . of the King of Portugal, Dom 
Sebastian. Part I. 
Translated by Anthony Munday from the Spanish by 
Jose Teixeira through the French of an anonymous 
writer. Part II, 1602. Both parts were relicensed 
September 27, 1602. (Underbill, p. 47.) 
154 



155 

l602 

5. Greenes Ghost Haunting Conie- Catchers . . . with the 

conceits of Doctor Makeshift. By Samuel Rowlands. 
(C. 40. d. 40.) 
Another edition, 1664. 

1603 

6. A Mad World my Masters. By Nicholas Breton. 

A punning dialogue. 

7. A True and Admirable Historie of a May den in Confolens 

in the Province of Poictiers; that for the space of three 
yeares and more hath lived and yet doth without receiv- 
ing either meate or drinke. [Translated by Anthony 
Munday.] (Gay.) 

8. A True and Strange Discourse of the Travails of two 

English Pilgrims. By Henry Timberlake. (G.6722.) 
This more or less authentic account of a pilgrimage to 
Jerusalem was reprinted in slightly modified versions 
in 1608, 1609, 161 1, 1616, 1620 and 1683. The last 
edition contained material added by the editor, 
R. Burton, i. e., Nathaniel Crouch, and was adver- 
tised under the title of Two English Pilgrims. 

1604 

9. Grimellos Fortunes, with his Entertainment in his Travels. 

By Nicholas Breton. (i2330.b.24.) 
This is a somewhat picaresque miscellany in dialogue 
form. 

1605 

10. The First and Second partes of the Famous History of 

Evoradmus, Prince of Denmarke with his adventures 
and fortunes in love. 
Licensed February 12, for Banckworth, but I have 
found no further record of the book. 

11. The Life and Death of Gamaliel Ratsey, a famous Theefe 

of England. (Bodleian and Lit. of R. i. 143.) 
Reprinted by J. P. Collier in ///. of Old Eng. Lit. 

12. The Most Famous and Delightful History of Urano, other- 

tvise called the Greene Knight and the most beautiful 



156 

Princesse Beroshia, Daughter to Lucius, King of 
Brittaine. 
Licensed for Francis Burton, September 9, but I have 
found no further mention. 

13. The Practises of Elizabeth Caldwell. {Lit. of R., p. 148). 

A cheap pamphlet relating her crimes. 

14. The School of Slovenrie. Dekker's translation of Dede- 

kind's Grobianus. Revised in 1609 as the Guls Horne- 
booke. (C.27.b.7.) 

15. ^ True Relation of God's Wonderful Mercies in preserving 

one alive which hanged five days who was falsely accused, 

i. e., John Johnson. 
By John Johnson of Antwerp, 
A variation appeared in Edinburgh in 1706. 

16. Vincentio and Margaret. 

Licensed in November for Valentine Syms but not 
mentioned elsewhere. 

1606 

17. The Countess of Bedford's Arcadia, begyninge where the 

Countesse of Pembroke' s Endes. 
Licensed January 6, for Edward Aide but so far as I 
know not mentioned elsewhere. 

18. Eliosto Libidinoso . . . Wherein their imminent danger 

is declared, who guiding the course of their life by the 
compasse of Affection, either dashe their ship against 
most dangerous shelves or else attahie their haven with 
extreame prejudice. By John Hind. 

This seems to be the same as Greene's Card of Fancie, 
reprinted in 1608, Wherein the folly of those Carpet 
Knights is deciphered which guiding their courses by the 
compass of Cupid, either dash their ship against more 
dangerous rocks or else attaine the haven with pain and 
peril &. 

It is the Debate between Follie and Love translated out 
of the French of Louise Labe. 
1607 

19. The Pastoralls of Julietta divided into five parts. Trans- 

lated from the French of Ollenix du Mont-Sacre 
[1592-98] by Gervase Markham. 



157 

Licensed for Thos. Creede, Nov. ii, 1609. 

Another rendering by Robert Tofte under the title of 
Honour s Academy or the Famous Pastoral of the Fair 
Shepherdess Julietta appeared in 1610. 

20. The Pleasant and Delightful History of Tom of Lincoln, 

The most valiant and renoivned Red-Rose Knight; 
surnamed for his many wonderful exploits, the Glory 
and Pride of England. Containhig an account of 
his princely birth, strange education, noble and valorous 
exploits at home and abroad; his amours with the Queen 
of Fairy; his marriage with the Emperour of Ethiopia's 
Daughter etc. 
Reprinted in 1625, 1631, 1635, 1655 "the ninth," 1682 
and so on. 

1608 

21. The Belman of London. By Thos. Dekker. (C.44.C.20.) 

An enlarged version appeared in 1609 as Lajithorne 
and Candlelight and was reprinted in 1612 with 
per se 0, and under the title of Villanies Discovered, 
in 1616, and with additions and variations as EwgZis/f 
Villanies in 1638, 1640 etc., reaching the ninth edi- 
tion in 1648. (Lit. of R., 1, 106-110.) 

22. St. George's three sons, the lively sparks of nobility. By 

Richard Johnson. (Quaritch.) 
Part III. appeared in 161 6 and a metrical version in 
1622. 

1609 

23. The Discovery of a New World; or a Description of the 

South Indyes hitherto unknown. By an English 
Mercurye. (Begley.) 
This is a translation of Miindus Idem et Alter. Sive 
terra Australis itineribus Peregrini Academici Lus- 
trata. Auctore Mercurio Britanico, i. e., Joseph Hall, 
of which Latin editions were printed in 1607 at 
Hanover and Frankfurt. The Latin edition was 
entered on the S.R. for John Porter, June 2, 1604, 
and on August 4, 1608, it was assigned to Leonard 
Greene; but the translation of 1609-10 seems to be 
the earliest edition printed in England. It was re- 



158 

printed and bound with the New Atlantis in 1643, 
and again in 1680. (Begley.) 

24. The Famous Whore, or Noble Courtizan, containing the 

lamentable Complaint of Paulina, the famous Roman 
Courtizan, sometime mistress unto the great Cardinal 
Hippolyte of Este. Translated from the Italian by 
C. Markhune. [G. Markham?] (Gay.) 

25. The Man in the Moon telling Strange Fortunes to the 

English Fortune Teller. By M. W. (232. f. 11.) 
A book of character-sketches satirizing vices. 

1610 

26. Euphormionsis Lusinini Satyricon. By John Barclay. 

The earliest extant edition of Pt. I is that printed in Paris 
in 1605, but in all probability a version had appeared 
in London in 1603. Pt. II was added in 1607; parts 
III and IV were included in the editions printed at 
London in 1610 and at Oxford in 1614. A continu- 
ation by Morisot was printed in 1625. 

It was translated in 1631 as the Mirror for Mindes by 
Thos. May who took his title from Pt. II, Icon 
Animorum. 

27. The Madde Pranckes of Merry Mall of Banckside. 

Licensed August 7 for Henry Gosson. 

A cheap pamphlet relating the popular and well-known 
misdeameanors of Longa Margarita which had already 
been reported in ballads and broadsides. {Lit. of 
R., i. 144.) 

1612 

28. The Heroik Life and Deplorable Death of the most Christian 

King, Henry the fourth. Translated from P. Mathieu 
by Ed. Grimston (Upham). 

29. The History of the valorous and witty Knight-errant Don 

Quixote of the Mancha. By M. de Cervantes Saavedra 
translated out of the Spanish. By T. Shelton. 

Part II appeared in 1615, and is generally attributed to 
Shelton but Quaritch doubts if he were the translator. 

New editions appeared in 1652 and 1675. The trans- 
lation by John Phillips appeared in 1687 ; an abridged 



159 

version in 12s in 1689, 1695, and 1721. Stevens's 
translation was printed in 1 705 as was also his trans- 
lation of Le Sage's continuation, 

30. The Most Famous . . . History of that worthie Knight 

Mervine. First composed in rhyme and after trans- 
lated into French prose whence it is now reduced. By 
T. M., Gent. (1074. b. 35.) 
A late chivalric romance. 

1613 

31. The Admirable History of the Possession and Conversion 

of a penitent seduced hy a magician. Translated 
by W. B. (8630.d.39.) 

32. Looke on Me London I am an Honest Englishman. By 

R. J., i. e., R. Johnson, (C.40.) 
A satirical attack on the vices and abuses of London. 

33. The Plain Man's Pilgrimage or Journey towards Heaven. 

By W. W[ebster]. 
This rare little allegory is cited by Wharey. 

34. The Second and Last parte of the first booke of the Englishe 

Arcadia. By Gervase Markham. (C.39.h,8.) 
Printed in all later editions of the Arcadia. 

1615 

35. The Famous History of the Seaven Champions of Christen- 

dom. In Two Parts. By R. Johnson. (i26i4.d.) 
This clumsy compilation of old chivalric material has 
been described as "all the lies of Christendom in one 
lie." Nevertheless it proved very popular and was 
reprinted in 1620?, 1630?, 1670?, 1696, 1719, 1722 
and probably oftener. 

36. The Honourable Prentice, or this Taylor is a Man. {Lit, 

_ o/i?.i. 73.) 

i. e. Sir John Hawkwood who figures in Deloney's 

Thomas of Reading. 
Other editions 1616, 1668 and 1687, the last two under 

the title The Honour of the Merchant-Taylors , by Wm. 

Winstanley. 

1616 

37. The Table of Cebes, the Theban. Translated by John Healy. 

(Wharey.) 



160 

i6i7 

38. Compters Commonwealth. By William Fennor. (1077, 

i;6.) 
Reissued in 161 9 as The Miseries of a Jaile, in 1629, 
as A True Description of the Lawes, Justice, and Equity 
of a Compter, and in 1638, as the Discovery of a London 
Monster. {Lit. of R., i. 140.) 

1618 

39. The Roman Histories of L. J. Florus. Translated by 

E. M. Bolton. (803, b.io.) 
Reprinted in 1636 and translated by J. Davies in 
1669. (1306.0) 

40. The Spanish Mandeville of Myracles, or the Garden of 

Curious Flowers . . . first written in Spanish by 
Anthonio de Torguemeda. 
An entertaining volume of wonderful and marvellous 
stories, some of which are drawn from the lands of 
the New World. (Quaritch, iv. 709.) 

41. True and Wonderful History of Perkin Warbeck by 

Thomas Gainford. (Lit. of R., i. 154.) 

1619 

42. The Pleasant Historie of John of Winchomb. By Thomas 

Deloney. 
This is the earliest edition extant. It was reprinted 
in 1626, 1630, 1633, 1637 and later. 

43. The Travels of Per sites and Sigismunda. A Northern 

History, wherein amongst the variable Fortunes of the 
Prince of Thule, and the Princess of Frisland, are inter- 
laced many Witty Discourses, Morall, Politicall, and 
Delightful. The first copie being written in Spanish; 
translated afterward into French; and now, last into 
English. (i074.h.28.) 
Reprinted in 1639. 

1620 

44. The Decameron, containing an Hundred pleasant Novels 

Wittily discoursed betweene seaven Honourable Ladies 
and Three Noble Gentlemen. Translated into English 



161 

from the Italian of Giovanni Boccaccio. 2 v. folio. 
(86.k.2.) 
It was reprinted in 1625 under the title, The Model of 
Wit, Eloquence, and Conversation framed in ten days, of 
an hundred curious pieces by seaven ladies and three 
gentlemen; in 1657, as Boccaccio's Tales or the Quin- 
tessence of Wit; and under slightly varying titles in 
1702, 1722, and 1741. 

45. The Famous History of Tom Thumb. By Richard Johnson. 

A prose version of the old songs. {Lit. of R., i. 65.) 

46. The History of Astrea : the first part in twelve books, 

newly translated out of the French. 

Fry, p. 365, says that only a portion of the original 
was translated, books 10, 11 and 12 being compressed 
into one. 

There was another translation in 1657. 

On October 17, 1611, L'Astree de Messire Honore Durfee 
was licensed for Lowndes "to be printed in English 
when it is further authorized and allowed," but 
it does not seem to have been published. 

47. The History of Friar Rush. 

A prose refacimento of old songs and legends. {Lit. of 
R., i. 56.) 

48. The Way to the Celestial Paradise. By Robert Whittell. 

(4403.g.) 
A religious tract with little or no narrative interest. 

49. Westward for Smelts. By Kit of Kingston. 

A collection of short tales which had long been current. 

Stevens cites an edition of 1603, but the earliest extant 
is the one of 1620 mentioned by Collier, and edited 
in 1848, by Halliwell-Phillipps for the Percy Society. 

1621 

50. The Countess of Montgomery's Urania. By Lady Mary 

Wroth. (Sommer.) 

5 1 . The Reformed Spaniard. By De Nicholas and John Sach- 

arles. Translated from the Latin. (Upham.) 
A French version was entered in 1622. (Upham.) 

52. The Triumphs of God's Revenge against the crying and 
12 



162 

execrable Sin of (Willful and Premeditated) Murder, 
By John Reynolds. (12403. aaa.29.) 
The whole in six parts, comprising the thirty tragical 
stories, was issued in 1635 and reprinted in 1639, 
1640, 1657, 1662 and, with the addition of God's 
Revenge against Adultery, in 1670, 1679, 1708 and 
1770. 

1622 

53. The Pilgrim of Casteel or the Fortunes of Lamphilus and 

Nisa. 
To be licensed for John Norton "if more authority be 
granted," but apparently it was not printed. 

54. Portraicture of the Nine Worthies of the World, i. e., Maho- 

met, Soliman, Tamberlaine, Charles V., Scanderbeg, 
Henry IV. of France, Henry V, the Black Prince, 
and Sir Philip Sidney. 
Licensed for Holland, March 30. 

55. The Pursuit of the Historie of Lazarillo de Tormes. By 

Jean de Luna. 
Reprinted independently in 163 1 and 1655, and with the 
first part in 1624, 1639, 1653 and in Blackston's ver- 
sion in 1669-70. 

56. The Rogue: or, the Life of Gusman de Alfarache. 

Translated from the Spanish of Aleman [Madrid 
I599~i605] by James Mabbe. (Bodleian.) 
Reprinted in 1633 with Mabbe's version of the Tragi- 
comedy of Calisto and Melibea. It was epitomized 
by "A. S., Gent." in 1655, and reissued in 1700; a 
translation of the French version appeared in 1708. 

1623 

57. The Life and Death of Griffin Flood. (Lit. 0/ i?., i. 146.) 

1625 

58. Barclay his Argenis: or the Loves of Poliarchus and Ar- 

genis. By John Barclay [Paris 1621]. Translated 
by Kingesmill Long. 
It was entered on the registers for the "Partenors in 
the Latten stocke" as early as June 29, 1622, and 



163 

a translation by B. Jonson was licensed for Blount, 
October 2, 1623, but Long's version seems to be the 
first edition printed in England. In 1625, Seile 
reprinted Long's translation with the verses by May. 
In 1626-7, Jan. 18, Islip petitioned for "further 
authorization" but probably his request was not 
granted, for we next hear of the Argents as being 
translated by Robert de Guys and printed by Meig- 
hen. In 1635, Seile issued a "discourse or key," 
and printed it with Long's version the next 
year. In 1639, he got out an epitome. In 1669 
Bugnot's continuation appeared. The Argenis was 
advertised in the T. C. for Hillary Term 1674, and 
in the next century, 1734, a new translation was made 
by Mr. John Jacob, and printed in DubHn. For 
further information about this last translation see 
an article by Ed. Bensly in Mod. Lang. Review, 
April, 1909, iv, p. 392. 

1626 

59. Almanzor, the learned and victorious King that Conquered 

Spayne. 
Licensed November 4, Robert Asley for Stansbye. 

60. The Isle of Man, or Legal Proceedings in Manshire. By 

Richard Bernard. (ioi8.bb.9.) 
Other editions in 1640, 1648, 1676, the fifteenth; 1683, 
the sixteenth. 

1627 

61. The New Atlantis. A worke unfinished, written by the 

Rt. Hon. Francis [Bacon] Lord Verulam, Viscount St. 
Albans. With Silva Sylvarum (Quaritch). 
Reprinted eleven times by 1676; in 1660, with a contin- 
uation by R. H., Esq.; in 1670, as "the ninth edition, 
with the author's life newly added"; in 1676, with a 
continuation by Joseph Glanvill. In 1636 it was 
translated into French, 

62. A Sixth Booke to the Countesse of Pembroke's Arcadia. . . . 

Written by R[ichard] B[eling]. (12403. g. 13.) 

63. The Famous Historic of Fryer Bacon &. (1077, e.58.) 



164 

A mss. note says that this is the oldest extant edition 

of this popular old tale. 
Reprinted in 1630?, 1661, 1666, 1715?, 1750?, 1766, etc. 

1628 

64. The True History of the Tragicke Loves of Hippolito and 

Isabella, Neapolitans. Englished. Preceded by a 
poem addressed to the 'Whim' signed G. C. 
(i26i3.a.) 

Second edition 1633. 

This is presumably translated from the Histoire des 
tragiques amours d'Hippolyte et d'Isabelle, Napolitains, 
Nyort, 1597; reprinted as Les Etranges Aventures 
d'Hyppolyte et d'Isabelle, Paris, 1630. Reynier as- 
cribes the work to Pierre Mathieu. 

Langbaine gives this novel as the source of Middle- 
ton's Women beware Women. 

1631 

65. The Mirrour for Mindes. Translated by Thomas May 

from the Icon Animorum of John Barclay which ap- 
peared in 1614. (526. g.) 
Cf. no. 26, 1610. 

1632 

66. Eromena; or Love and Revenge . . . Now faithfully 

Englished . , . from the Italian [of Biondi which 
appeared in 1624] by J. H.^ (i2470.k.9). 

67. Gerardo, The Unfortuftate Spaniard: or a pattern of las- 

civious lovers; containing strange miseries of loose 
affections. Made English by L[eonard] D[igges] 
[From the Spanish of Cespedes y Meneses] (E.i234.b). 
It was licensed for Blount as early as March 11, 1622, 
was reprinted in 1653, and consists of a succession 
of unhappy love stories related in ornate grandiose 
style. 

1 According to Howell, "J- H.," is J. Howard, for in a letter addressed to him 
and dated Oct. 6, 1632, he commends his translation of Eromena and encloses 
some verses (^Familiar Letters, ed. J. Jacobs, London, 1892, i, 329-); but Fry, 
p. 21, and the B. M. catalogue agree that it was Jasper Heywood. According 
to T. Cooper, D.N.B., the latter died in 1598. Fry describes the work as a 
folio but the B. M. copy is a quarto. 



1G5 

68. The History of George a Greene. By Richard Johnson. 

A prose version of the old ballads. (Thorns.) 

69. The History of St. Elizabeth, daughter of the King of 

Hungary. By H. A. (Ellis and White, no. 47.) 

70. Hollandes Leaguer or an Historical Discussion of the Life 

and Actions of Donna Brittanica Hollandiza. By 

Nicholas Goodman. 
This picaresque novel is founded on fact. 
It furnished Shakerley Marmion with the material for 

a play of the same name. 

71. Unhappie Prosperity expressed in the Histories of Elius 

Seianus and Phillippa the Calanian. Written in 
French by Pierre Mathieu and translated by Sir 
Thomas Hawkins. (10605. cc.) 
A second edition was issued in 1639. 

1633 

72. Pantaleonis Vaticinia, Satyra. By Jacob Hume. Ratho- 

magii (Begley). 

1634 

73. Certain Select Dialogues of Lucian together with his true 

History. Translated from the Greeke . . . by Mr. 
F. Hickes. Oxford. (io67.k.i7.) 
In 1637, Thos. Heywood translated Pleasant Dialogues 
and Dramas out of Lucian, in 1664, Sir Jasper Mayne 
translated the Dialogues and Somnium; in 1684, a 
rhymed version of the latter appeared; in 171 1, The 
Works of Lucian were translated by "T. Brown and 
several Hands"; and in 1727, W. Moyle published 
Translations from Lucian. 

1634 

74. Eryci Puteani Comus sive Phagesiposia Cimmeria. Som- 

nium. Oxford. (Begley) 

Previously printed at Louvain in 1609 and 161 1. 

It was translated into French in 161 3 as Comus, ou 
Banquet dissolu des Cimmeriens. Songe. This 
French translation may be the original of the Cim- 
merian Matron of 1668. 



166 

75- ^ Saxon Historic of the Admirable Adventures of 
Clodaldus and his Three Children. Translated out 
of the French of C. N. by Sir Thomas Hawkins. 
(Huth.) 

76. The Troubled-spirited Man's Departing; or a Wonderful 

Relation of the wilfull murder committed by Thomas 
Mince . . . upon his own person with the true copy of 
a letter written by his hand. 4. (E, 690.(2).) 
A news-sheet. 

1635- 

77. Amanda, or the Reformed Whore. By Thomas Cranley. 

This verse and prose narrative was reprinted in 1639 as 
The Converted Courtezan; or the Reformed Whore. 
Being a true relation of a penitent. . . . under the 
name of Amanda. (c.30.e.33.) 

78. The Arcadian Princess; or the Triumph of Justice . . . 

from the Italian by R. Brathwaite. 
A verse and prose narrative, 

79. Donzella Desterrada, or the Banished Virgin. Written 

originally in Italian by Cavalier Geo. Francesco 
Biondi . . . divided into three books and Englished 
by J. H. of Graies Inn, Gent.^ (i2470.k.io.) 

80. The History of Blanchedyne. 

Sold to George Blackwell, Nov. 4, but not mentioned 
elsewhere. 

81. The History of the Serrail and of the Court of the Grand 

Seigneur, Emperor of the Turkes. Translated from 
the French of M. Boudier. [Paris, 1624.] (Upham) 

82. A Tragi-comical History of Our Times under the Borrowed 

Names of Lisander and Calista. Translated from 
the French of G. de Costa [Paris, 1615] by W. D. 
(Col.) 
Although licensed for Latham as early as August 25, 
1626, this seems to be the first edition. It was re- 
printed in 1652. An incomplete version by W[illiam] 
B[arwich] under the title of Love and Valour etc. 
appeared in 1638. 
iSee note i, p. 164. 



167 

1636 

83. Ariana. In two parts. As it was translated out of 

the French of J. Desmarets de Saint Sorlin. 
(i34.n.2.) 
Reprinted in 1641. 

1637 

84. Clidamus or Sicilian Tale. 

Licensed February 25 for Thos. Payne but I have found 
no further record. 

85. Endimion de Gombauld. Translated out of the French 

[Paris, 1624] by Richard Hurst. (Upham.) 
A second edition appeared in 1639. 

86. Icaria. By John Bissel 1638. (1052. a. i.) 

87. Four True Tragi-Comical Histories of our Late Times by 

the names of The Lady Cornelia, The Force of Blood, 
The Two Damsels, and The Spanish Lady. By Don 
Diego Puedeser. Translated from the Spanish of 
Cervantes [161 3] by James Mabbe. 
Other editions are as follows: 

1640, The Exemplarie Novels; in sixe books . . . full 
of various accidents both delightful and profitable &. 
Turned into English by Don Puedeser, i. e., James 
Mabbe. 1654, the above reprinted as Delight in 
Several Shapes. 1694, Select Novels, The first six by 
Miguel de Cervantes . . . the other by Francis Pe- 
trarch tr. by Wm. Pope. 170Q, El Zeloso Estremeno ; 
the jealous Estramaduran, a Novel; with the Fair Maid 
of the Inn; the History of the Captive; the Curious Im- 
pertinent; the Prevalence of Blood; the Liberal Lover; 
and the Rival Ladies. 1728, A Collection of Select 
Novels, written originally in Castillian . . . made 
English by Harry Bridges. Bristol. 1729, A Select 
Collection of Novels and Histories. Ed. Samuel 
Croxall. 

88. Histoire de Larrons or the History of Theeves written in 

French [in 1636] and translated out of the original by 
P. G. (Upham and B. de A.) 



168 

89- The Lives and Singular Verities of Saint Elzear, Count of 
Sabran and his Wife. Translated from the French of 
Etienne Binet, by Sir Thomas Hawkins. (10604. cc.) 

1638 

90. The Comical History of the States and Empires of the 

Worlds of the Moon and the Sun. Translated from 
the French of Cyrano de Bergerac [Paris, 1638] 
by A. Lovell. (Upham.) 
Another edition, (the earliest recorded in B. M. cata- 
logue) appeared in 1687. 

91. The Man in the Moone; or a Discourse of a Voyage Thither 

by Domingo Gonsales, the speedy messenger, i. e., 
Francis Godwin. 
Reprinted with Nuncius Inanimatus and as "By F. G., 
B. of H." in 1657. French translations were printed 
in 1648 and 1671 and German in 1659 and 1660. 

92. The Sonne of the Rogue or the Politick Theefe. With the 

Antiquities of Theeves. First Written in Spanish by 
Don Garcia, Afterwards translated into Dutch and then 
into French by S. D'Audigtder. Now Englished by 
W. M. (i2330.a.3i.) 
In 1650, a duplicate was printed with the title Lavernae, 
or the Spanish Gypsy: the whole art, mystery, antiquity, 
company, noblenesse, and excellency of theeves and 
theeving; and in 1659, it was reprinted as A Scourge 
for a Den of Thieves. 

93. The Unfortunate Politique. From the French of C. N. 

By G[eorge] P[icot], Oxford. (Upham.) 

1639 

94. A Boulster Lecture . . . the History of Philocles and Do- 

riclea. By Philogines Pandinius. 
Licensed November 25, for Bishop. 

95. The Court Secret, a Novel. A political satire by P. B., 

i. e., Peter Belon. 
This may be the same as The Court Secret, a melancholy 
Truth Translated, advertised in 1741. 

96. An Epitome of all the Lives of the Kings of France. . . . 



169 

Translated out of the French Copy by R. B. Esq. [R. 
Brathwaite]. (G. 140. 22.) 

97. Exemplary Lives and Memorable Acts of Nine Worthy 

Women, three Jews, three Gentiles, and three Christians. 
By T[homas] H[eywood]. 
Licensed Sept. 23, for R. Roiston. 

98. The History of Anaxander and Orazia. Translated by 

William Duncomb from Boisrobert's Histoire In- 

dienne, Paris, 1629. 
Licensed March 3. 
There was another edition by "W. G." in 1657. 

(Upham.) 

99. The Isle of Pines, or a late Discovery of a fourth island 

near Terra Australis Incognita, by Henry Cornelius 
von Sloetten, i. e., Henry Neville. 
The island is supposed to be inhabited by the descen- 
dants of an Englishman named George Pines, 
amounting in the fourth generation to about ten 
thousand persons. Dull and coarse. (Quaritch.) 

1640 

100. Hell Reformed or the Seventh Vision of Do ft Ffrancisco 
Quevedo, with Lucifer's decree in the behalf of the 
Lady Prosperity. 
Licensed Feb. 7, for Symon Burton. 

loi. The Love and Arms of the Greek Princes, or The Romant 
of Romants. Written in French by Monsieur Verdier 
[1626] and translated for Philip, Earle of Pembroke 
and Montgomery, Lord Chamberlaine to his Majesty. 
By Saulnier. 3 tom. folio. (837.1.27.) 

102. The Spanish Gallant of Dantisso translated by William 

Styles. 
Licensed May 2, for Lee. 

103. The Tragi-comical History of Alexander and Angelica, 

containing the Progress of a zealous and masculine 
Love. (i076.b.9.) 
A novel of the narrative-comedy type and almost cer- 
tainly a translation; possibly of R. Montagathe's 
Angelique, Paris, 1626. 



170 

104- A Trite and Strange Relation of seven years slavery under 
the Tiirkes of Algeres, suffered by an English captive 
Merchant. 

Licensed March i6 for Sparkes. 

There were many pamphlets on this subject. 

105. The Two Lancashire Lovers: or the Excellent History of 

Philocles and Doriclea. Expressing the faithful con- 
stancy and mutual fidelity of two loyal lovers. By 
Musaeus Palatijius Pereo. 
Printed by Edward Griffin for R. B. [Brathwaite?] 
The only mention of this work occurs in the Huth 
Catalogue where it is described as a prose and verse 
narrative. Is it the same as The Boulster Lecture, 
i63g? See no. 94. 

1641 

106. The Academy of Love Describing ye Folly of Young Men 

and the Fallacy of Women. By J. Johnson. (G. 
10447.) 

107. The Kingdom of Macaria. By Samuel Hartlib. 

Reprinted in the Harleian Miscellany, iv. 380. 
Macaria is the name of the Utopian island in Com- 

mentariolus de Eudaemonensium Republica by Gaspar 

StibUn [Basle, 1553]. (Begley.) 

108. The Life of Merlin surnamed Ambrosius etc. (2473.13.) 

A compilation of the history of England. (Quaritch.) 

109. The Memorials of Margaret de Valois. Translated by 

Robert Codrington from the Memoir es de la Reyne 
Marguerite [Paris, 1628]. (io66i.b.) 
Reprinted in 1658, 1666. 

1642 
no. The Just Reward of Rebels; or the Life and Death of Jack 
Straw and Wat Tyler. 
Reissued in 1654 as The Idol of the Clownes or the in- 
surrection of Wat the Tyler [by J. Cleveland]. 
(i325-a.) 

1643 
III. The Pathway to Peace with Truth and Holiness. (E. 
Ii8i.(i).) 



171 

Reprinted in 1720 as A Plain Pathway to Heaven &". 
A homily with very sHght narrative interest. 

1644 

112. Dodond's Grove or the Vocall Forest. By James Howell. 

Part I in 1644. Part II, 1645. 
A second edition was printed 1649-50 for Mosely. 
(Col. 823.h.83 PI.) 

1645 

113. A Strange and Wonderful Example of God's Judgment 

shewed upon J. Brathwaite of Shoreditch. (E. 305. 

(II.)) 
A news-sheet. 

1646 

114. The Life and Death of the illustrious Robert, Earl of Essex. 

By R. Codrington. (E. 1468(2.)) 
Reprinted in 1744. 
I do not know how large a part fiction plays in this 

biography. 

1647 

115. Aurora and the Prince by Don J. P. de Montalvan [Novela 

I of Successos y Prodigios de Amor] and Oronta, the 
Cyprian Virgin [a poem] by Sign. Girolamo Preti. 
Translated by T[homas S[tanley]. (E. 1146(1).) 
Reprinted with modifications in 1650. 

116. 'EpoTOTraiyviov ; or the Cyprian Academy. By Robert 

Baron, Gent. (643. b. 19.) 
A romance in prose and verse interspersed with masques 
and songs. 

117. The Divell a Married Man &. Translated from Machia- 

velli's Belphegor. 
Also contained in Select Collection of Novels, 1722. 

118. The History of Polexandre, in five books. Translated 

from the French of Gomberville [Paris, 1632] by 
William Browne. 

1648 

119. The Late Storie of Mr. William Lilly [concerning his 



172 

transactions with the Lady Arabella Scroope] (E. 

425- (3)-) 
A political pamphlet. 

120. Nova Solymae Libri Sex. (C.62.a.7.) 

Translated and printed by Walter Begley, London, 1902. 

1649 

121. The Confession of R. B. [Richard Brandon] the hangman 

{upon his death bed) concerning his beheading his late 
Majesty Charles the ist. (669. £.14(51).) 
A reprint and two variations appeared the same year. 

122. The History of the most illustrious lady Queen Afar gar et 

daughter to Henry II. Translated by R. Codrington 
from the French, (Upham.) 

123. Plantagenet' s Tragicall Story; or the death of king Edward 

the fourth. By T. Weaver, Gent. (Halliwell.) 
This may be verse. 

1650 

124. A Continuation of Sir Philip Sidney's Arcadia wherein 

is handled the Loves of Amphialus and Helena, Queen 
of Corinth; Prince Plangus and Erona; with the His- 
tory of the Loves of old Claius and Strephon to Urania. 
Written by a Young Gentlewoman, Mrs. A[nna] 
W[eames]. (Sommer.) 
A "second edition" was advertised in the T. C. for 
May, 1690, by Nathaniel Crouch. 

125. The Flower of Fidelitie. By John Reynolds. (E.1236. 

(I).) 
The fourth edition was advertised in the T. C. for May, 
1692, as The Garden of Love and Royal Flowers of 
Fidelity. 

126. History of the most Renowned Queen Elizabeth and her 

Great Favorite the Earl of Essex. A Romance. 
Translated from the French of Devereux. (i26i3.d.) 
It was reprinted in 1680, as The Secret History of Queen 
Elizabeth and the Earl of Essex. Another edition 
appeared in 1690 and it was advertised in the T. C. 
for May, 1703. 

127. The Loving Enemy. Translated by Major Wright from 

the French of John Peter Camus. (Upham.) 



173 



1652 

128. Choice Novels and Amorous . . . Tales; written by the 

most refined Wits of Italy; newly translated into 
English. (Bodleian.) 

129. The English Gusman, or the History of that Unparalled 

Thief James Hind. By George Fidge. (E. 65 1.20.) 
Reprinted in 1692 as The Notorious Impostor. 

130. The Fables of Aesop paraphrased in verse, and adorned 

with sculptures. By John Ogilby. 
In 1666 R. Codrington published a translation, in 1698 
there was a Latin edition by Anthony Alsop and in 
1703, two other translations, Aesop's Fables with his 
Life, in English, French, and Latin, the English 
translation is in verse by Mrs. Behn (Quaritch), 
and Aesop's Fables, in English and Latin, inter- 
lineary. L'Estrange's yle5o/> appeared in 1692. 

131. The Famed Romance of Cassandra [Cassander] . . . 

elegantly rendered into English by "A Person of 
Honour." Books I to III. (86.L.1.) 
In 1661 the entire work was translated by Sir Charles 
Cotterell, in 1676 there was a second edition, and 
in 1725 a third, while in 1703 appeared the trans- 
lation "by several hands," from the French of G. 
de Costes, Seigneur de la Calprenede, [Paris c. 1642.] 
(12512.ee. 7.) 

132. The Fifth Book of Amadis de Gaule. Translated by 

Francis Kirkman. 
The first book was translated by Munday in 1598. 
The sixth book was added by J. Johnson in 1664. All 

were often reprinted. See List of Reprints. 

133. The Gallery of Heroic Women. Translated by the 

Marquis of Winchester from the French of John 
Pourlett. 
Mentioned by Howell, Letter v, Bk. iv, and also by 
Walpole in the Cat. of Royal and Noble Authors. 

134. The Heroe of Lorenzo [i. e. Baltasar Gracian] or the Way 

to Eminence and Perfection. Translated by Sir J. 
Skeffington from the Spanish. (84o6.a.27.) 



174 

135* Hind's Elder Brother; or the Master Theefe Discovered, 
i. e., Thomas Knowles. (£.652.(9).) 

136. Hymen's Praeludia; or Love's Masterpiece; being the 

first part of that so much admired romance, intituled 
Cleopdtre, [by G. de Costes, seigneur de la Cal- 
prenede, Paris, 1647-58] now rendered into English 
by R. Loveday. Whereunto is annexed a succinct 
abridgement of what is extant in the succeeding story; 
by the same hand. (E. 1327.) 
In 1654, part 2; in 1655, part 3; in 1658, part 7, by J. 
Coles; in 1658, part 8, by J. Webb; in 1665-63-59, 
the collected parts together with parts 9-10, 12 by 
J. Davies. In 1674, the whole appeared in Loveday 's 
name and in 1687 was advertised for R. Loveday. 

137. Ibrahim, or the Illustrious Bassa, an excellent new romance 

. . . Writtenin French by Monsieur deScudery [Fans, 
1641-52] in four parts. Englished by H. Cogan. 

(837.1. 15) 
In 1674, there was another edition. 

138. Knights of the Blade. A notable and pleasant history of 

the famous renowned Knights of the Blade, commonly 
called Hectors or St. Nicholas Clerkes. (Malone.) 

139. The Loves and Adventures of Clerio and Login. Trans- 

lated into English by F[rancis] K[irkman] from the 
French [Amours de Lozie by A. du Perier Paris 1599]. 
(E.i289.(2).) 

140. Nature's Paradox: or the Innocent Impostor. A pleasant 

Polonian History, originally intituled Iphigenes. 
Compiled from the FrenchTongue [i.e., from the work of 
F. P. Camus] by Major Wright. (Col. 843. c. 153.T.5.) 

141. The Troublesome and Hard Adventures in Love. Trans- 

lated [from Cervantes] into English by R. C{odrington), 
Gent. (E.647(i).) 

142. We have brought our hogs to a fair market; or strange newes 

from New-gate; being a 7iovel, pleasant ajid historical 
narrative of J. H. [John Hind]. 4. (E. 793. (10).) 
Revised Jan. 26 as "^ Pill to Purge Melancholy'' 
and again in 1653 as No Jest like a true Jest, and 
2iQ Wit for money. (£.652.(2).) 



175 

1653 

143- ArtameneSy or the Grand Cyrus, an Excellent New 
Romance. Written by Monsieur Scuderi [Paris, 
1649-53] . . . Translated by F. G. (86.k.i5.) 
It was advertised by Mosely in the T. C. for May, 1691 , 
as was also Philoxixes and Policute translated from 
Cyrus by an Honourable Personage. 

144. Gloria and Narcissus. A Delightjull and New Romance, 

Imbellished with divers Politicall Notions, and Singu- 
lar Remarks of Moderne Transactions. Written by an 
Honourable Person. Pt. II. appeared in 1654, Pt. 
III. in 1655 and a new ed. under the title The 
Princess Gloria in 1661. 823(62). 

145. The Works of Rabelais. Bks. i and 2. Translated by 

Thos. Urquhart. 

1654 

146. Dianea: an Excellent New Romance. Translated from 

the Italian of G. T. Loredano the younger by Sir 
Aston Cokaine. (i2477.bb.8.) 

147. Eliana. By Samuel Pordage. (Dunlop.) 

148. The Extravagant Shepherd, or the History of the Shepherd 

Lysis. Translated by J. Davies from the French of 
Charles Sorel. 

149. Heptameron, or the History of the Fortunate Lovers, now 

made English by R. Godrington. (£.1468.(2).) 
As early as 1597 there was a translation of this work of 
Margaret of Navarre. 

150. Nissena, an Excellent New Romance; written originally 

by an Italian Garment and now Englished by an 
Honourable Anti-Socordist. [E. 1234(2).] 

151. Parthenissa, the famed Romance, by Roger Boyle, Earl 

of Orrery. The first four parts. 
Another edition with two additional parts appeared in 
1669. 

152. Pleasant Notes on Don Quixote. By John Gayton. 

(Lit. of R., p. 114.) 

153. Triana: or A threefold Romanza of Mariana, Paduana, 

Sabina. (G. 10366.) 
There was a second edition, 1664. [By Joseph Hall?] 



176 

1655 

154- The Comical History of Francion, translated from the 

French of Sorel. [Paris, 1622.] (Upham.) 

155. Coralbo: a New Romance in three books. Written in 

Italian [by F. G. Biondi (1635)] and now faithfully 
rendered into English. (12470. k.8.) 

156. Wil BagnaVs Ghost: or the Merry Devill of Gadmunton 

in his Perambulation of the Prisons of London. By 
Edmund Gayton. (E. 861. 4.) 
A series of satires in prose and verse, 

1656 

157. Clelia. An Excellent New Romance. Translated from 

the French of Mile, de Scudery [Paris, 1654-56]. 
Parts i to iv by J. Davies, Parts iv and v by G. 
Havers. 
The complete work was printed in 1661 in five volumes 
and there was another edition in 1678. 

158. The Commonwealth of Oceana. By James Harrington. 

(52i.k.io.) 
Other edition appeared in 1700 and 1731. 

159. The Illustrious Shepherdess. Translated by "E, P." 

from the Successos y Prodigios de Amor of Perez de 
Montalvan. (E. 1588(1).) 

160. The Most Pleasant History of Bovinian. Being an 

addition to that most delightful history of Crispins 
and Crispianus. (12613.C.) 
The first chapter is numbered 16. 

161. Nature's Pictures drawn by Fancie's Pencil to the Life. 

By Margaret Cavendish, Duchess of Newcastle. 

(G. II599-) 
It was reprinted in 1671. 
The volume contains "several feigned stories and 

natural descriptions as comical, tragical etc." 

162. A Relation of the Life of Christina, Queen of Sweden. 

By J. Howell. (Upham.) 

163. The Trepan. {Lit. of R., i. 148.) 

164. The Witty Rogue Arraigned, Condemned, and Executed; 



177 

or the History of ... R. Hainman relating the several 
robberies, mad pranks and handsome jests by him per- 
formed. Together with his speech at the place of exe- 
cution. (E.882.(8).) 
Reprinted as The English Villain or Grand Thief. 

165. Don Zara del Togo; a Mock Romance. Written originally 

in the Brittish Tonge and made English by Basilius 
Musophilus, i. e., S. Holland. (12212 d.) 
This was reprinted in 1660 as Romancio-Mastix; or 
a Romance of Romances and in 17 19 as The Spaniard; 
or, Don Zara del Togo &" 

1657 

166. Guzman Hind and Hannan Outstript. {Lit. of R., p. 15.) 

167. The Life and Adventures of Buscon the witty Spaniard. 

Put into English by a Person of Honour to which is 

added the Provident Knight. 
Other editions appeared as follows : 

1670, second edition. 

1683, abridged as The famous history of Auristella. 
Originally by Don Gonsales de Cespedes, Together 
with the pleasant story of Paul of Segovia by Don 
Francisco de Quevedo. Translated from the Spanish. 

1707, The Comic Works of Don Francisco de Quevedo 
Translated by John Stevens, reprinted in 1709 
and 1742. 

168. Novels of Scarron. Translated by J. Davies. 

John Davies translated the Hypocrites, The Fruitless 
Precaution, and the Innocent Adultery of Scarron 
in 1657, issuing them separately; the four novelle 
from the Roman Comigue he issued in 1662, collecting 
them in 1667, and in 1670 bringing them out as the 
Unexpected Choice. The Hypocrites is from Les Hypo- 
crites a redaction of La Hya de Celistina by Alonsa 
Geronimo de Salas Baradillo. (Upham and D.N.B.) 

1658 

169. The Devil of Mascon. Or a true Relation. [By Francois 

Perrault], Oxford. (Gay.) 
13 



178 

1 70. The Grand Cabinet-Counsels Unlocked. By Margaret 

of Valois, translated by Codrington. (Upham.) 

171. Panthalia; or, The Royal Romance. A discourse stored 

with infinite variety in relation to state governement 
. . . Faithfully and ingeniously rendered. {The opinion 
of a native Candiot, touching this royal romance. To 
the living memory of Catalion Pomerano, author of 
Panthalia, etc., [Signed Florencio Tribaccio] (E. 1797 

(I).) 

1660 

172. Bentivolio and Urania. In six books. By Nathaniel 

Ingelo, D.D. (823. In. 4.O.) 
This lengthy and uninteresting religious allegory was 
reprinted in 1660, 1673, and 1683, the last advertised 
as the "fourth edition." 

173. Olbia: the New Island lately discovered. By a Christian 

Pilgrim (John Sadler). Printed for Samuel Hartlib. 
(521, g.2.) 

174. Le Prince d' Amour, or the Prince of Love. Translated 

from the French of Martin Fumee by Sir Benjamin 
Ruddin, or Rudyerd. (Malone). 

175. Scipion. Translated from the French of Pierre de 

Hortigues de Vaumoriere. [Paris, 1656-62.] 

1661 

176. Aretina; or the Serious Romance. By Sir George Mack- 

enzie. (C.57,aa.28.) 

177. Description of a new World, called the Blazing World, 

By Margaret Cavendish, Duchess of Newcastle. 
(Harvard, Eng. Lit., 15461.4.) 

178. Don Juan Lamberto; or a Comical History of the Late 

Times. The Second Part, by Montelion Knight of 

the Oracle. (£.1048(8).) 
The two parts were reprinted in 1664. 
The first part was presumably written about 1658. 
The work is sometimes attributed to John PhiUips, 

sometimes to Flatman. 

179. Love at First Sight, or the Gay in a Flutter and the Method 

of Curing Oneself of Love. (Gay.) 



179 

i8o. The Wandering Whore. (Lit. of R., i. 207 n.) 

1663 

181. The History of Henry IV. . . . King of France and 

Navarre .... Translated by J. Dauncey Beau- 
mont de Perefixe from the French of Jean Sombix 
[Leyden and The Hague, 1663] (284, a.21). 
It was reprinted in 1672. 

182. The Lawyers Clarke Trappan'd. {Lit. of R., i. 149.) 

183. .4 True Account of the Tryal of Mrs. Mary Carleton. 

{Lit. of R., I. 149.) 

1664 

184. Birinthia, a romance. Written by J. B., Gent. (635, c.3.) 

185. CCX I Sociable Letters. By Margaret Cavendish, Duchess 

of Newcastle. (G. 115 98.) 

186. A Pilgimage into the Land of Promise. By Henry Vane. 

(4403, g.) 

187. The Satyricon of T. Petronius Arbiter. 

Reprinted in 1677 and 1743. 

Retranslated by T. Brown in 1708 and by John Addison 
in 1736. 

1665 

188. A Choice Banquet of Witty Jests, Rare Fancies, and 

Pleasant Novels. By J. T. (Malone.) 

189. The English Rogue described in the life of Meriton Latroon 

Being a com pleat history of the most eminent cheats. 

By R. Head. (12613, cc.22.) 
In 1 67 1 was added The English Rogue, Parts j and 

4. By Francis Kirkman. 
Other editions are: 

1679, Life and Death of EjigUsh R. 

1680, (Malone). 

1689, The E. R. or Witty Extravagant. 
1693, (advertised in the T. C. for November). 
1 70 1, (advertised in the T. C. for November). 
1723, with pts. 5-7 "Seventh" ed. 

190. The Highwaywoman celebrating Marcy Clay. (Lit. of R., 

i. 151.) 



180 

191. Pandion and Amphigenia: or, the History of the Coy Lady 

of Thessaly. By John Crowne. (i26ii.f.) 

192. La Picara, or the triumphs of Female Suhtility . . . En- 

riched with three pleasant novels. Rendered into 
English with some alterations and additions by John 
Davies of Kidwelly. 

Other editions are: 

The Life of Donna Rosina. A novel. Done into English 
by the ingenious Mr. E. W. (A compression of the 
1665 ed.) 

The Spanish Pole-cat; or the Adventures of Donna Rusina; 
in foure books. Begun to be translated by Sir Roger 
V Estrange and finished by Mr. Ozell 17 17. Reprinted 
as Spanish Amusements: or the Adventures of that 
Celebrated Courtezan, Senora Rusina. 

Three Ingenious Spanish Novels: namely, I. The Loving 
Revenge: Or, Wit in a Woman. II. The Lucky Escape 
or, The Jilt Detected. III. The Witty Extravagant: 
Or, The Fortunate Lover. . . . Translated with Ad- 
vantage By a Person of Quality. The second ed., 17 12. 
(Really Davies' translation but not the titles nor the 
order of his novels.) 

In 1707 it was translated in The Spanish Libertines or 
the Lives of Justina, the Country Jilt; Celistina the 
bawd of Madrid, and Estevanillo Gonzales, The most 
Arch and Witty of Scoundrels. To which is added 
a play, an Evenings Adventures. All four written by 
eminent Spanish authors and now first made English by 
Captain John Stevens. 

1667 

193. The Visions of Don Francisco de Quevedo y Villegas [Mad- 

rid, 1627], made English by Roger VEstrange. 
Other editions appeared in: 

1668, 1671, 1673, 1678 (sixth ed.), 1682 (with an 
apocryphal sec. pt.), 1688, 1689, 1696, 1702, 1708 
(tenth ed.), 1715. 

1702 burlesqued in verse, and in the New Quevedo, 
or Visions of Charon's Passengers. 



181 

1 668 

194. The Cimmerian Matron, to which is added the Mysteries 

and Miracles of Love. By P. M., Gent.; (Fry, 184-^.) 
See no. 74, 1634. 

195. The Husband forced to he jealous, or the good fortune of 

those women that have jealous husbands. Translated 
by N. H. from the French [Paris, 1663]. (1081, d.28.) 

196. The Loves of Charles, Duke of Mantua, and Margaret, 

Countess of Rovers. Translated out of Italian. 
Advertised in November for Knight and Saunders and 
by the same publishers, in May, 1685, as the Amours 
etc., translated out of the Italian. 

197. A Relation of the Country of the Jansenia never till now 

described. Wherein is treated of the singularities 
found therein, the customs, manners, and religion of 
its inhabitants. With a map of the country. 

"Composed in French by Louis Fontaine [Zacharie des 
Liseux, Capuchin] in 1660 and newly translated into 
English by P. B." (Begley.) 

Since this was written about the time of the Jansenlst 
controversy it is probably a satire on Jansenism. 

1669 

198. The History of Tarquin and Lucretia. By Philander. 

(Malone.) 

199. Psittacorum Regio. The Land of Parrots; or the Shetlands, 

With a description of other strange adjacent countries 
in the Dominions of the Prince d' Amour, not hitherto 
found in any geographical map. By one of the most 
reputed wits. (Begley.) 

1670 

200. The Fortunate Fool. Written in Spanish by Don Alonso 

Geronimo de Sales Barbadillo of Madrid. Translated 
into English by Philip Ayres, Gent. (R. of R.) 

201. The Gentleman Apothecary; Being a Late and True Story 

turned out of the French [of J. de Villiers]. (1081, 

i.2.) 

A lively account of an indecorous episode. 



182 

202. Les Heureuses Avantures d' Amour. By Roger Bon- 

temps. A translation (1081, 1.2.) 
Clever and rather licentious anecdotes characterized by 
remarkably witty repartee. 

203. The Memoirs of Monsieur Du Vail: containing the history 

of his life and death. Whereunto are annexed his 
last speech and epitaph. By W. Pope. (1132, 9.62.) 
Reprinted in the Harleian Miscellany, III, 1808. 

204. The Unexpected Choice. A Novel . . . Rendered into 

English [from the Plus d'Effets giie de Paroles of 

Scarron]. By J. Davies. Cf. no. 168, 1657. 
Included in Scarron's Complete Works, translated by T. 

Browne, in 1700 and reprinted in 1703 and 1727. 

(1074 K. 10.) 
See no. 427. 

1671 

205. The Amorous Travellers, or Night Adventures. Written 

originally in Spanish by A Person of Honour. Trans- 
lated into French by the exquisite pen of the Sieur 
Deganes and into English by J. B. 
Advertised, Michaelmas term, by Ambrose Isted and 
J. Edwin. 

206. The Inconstant Lover: an excellent Romance. Translated 

out of French. (012550, g.17.) 
This typical story of "gallant loves" is told by the 
principal hero Alcidor to the girl he finally marries. 
In many places it is satirical and markedly anti- 
Platonic. 

207. A Letter concerning the . . . country of Muley Arxid, 

King of Taleletta. The Relation of a Voyage into 
Mauritania. (980, b.25 (1-2).) 
This same year appeared a variation. 

208. Loves Journal: a Romance made of the Court of Henry II. 

of France. Printed at Paris [1670] and now made 
English. (125181, bbb.53.) 
This account of the "amours" of historical personages 
is in no way remarkable. 

209. Madame Wheedle or the Fashionable Miss Discovered. 

By R. Head. (Gay.) 



183 

210. Philosophus Autodidactus , sive Epistola Abu Jaafar Ebn 

Tophail de Hai Ebn Yokdhan; in qua ostenditui giio- 
modo ex inferiorum contemplation ad superiorum 
notitiam ratio humana ascendere possit. Ex Arabia 
in lingua Latinam versa ab Edward Pocockio. Oxford . 
(Advocates Lib.) 

In 1700 the Latin edition was emended. 

In 1674 it was translated into English by G. Ash well, 
as An Account of the Oriental Philosophy, etc., and 
in 1708, it was newly translated into English by 
Simon Ockley as The Improvement of Reason. 

211. The Vision of Theodorus Verax. By Bryce Blair. (12350, 

a.) 
A curious little satire. 

1672 

212. The Annals of Love, Containing Select Histories of Amours 

of Divers Princes. Pleasantly related. (12414, eee.). 

213. The Drudge or the Jealous Extravagant. A plea for 

Gallantry. 
Advertised by Herringman in Easter Term. 

214. Flagellum, or the Life and Death, Birth and Burial of 

Oliver Cromwell, the late Usurper. 
Advertised by Randall Taylor, Michaelmas Term. 

215. History of the five Wise Philosophers, or the Wonderful 

Relation of the Life of Johosophat, the Hermit, son to 
Avenerio, King of Baim in India. . . . Manner of 
conversion to ihe Christian Faith. 
This old story, presumbly in a new guise was advertised 
by Page, Passenger and Harlock in Hillary term, 
and again in May, 1692. 

216. History of the French Rogue; being a pleasant History of 

his life and fortunes, adorned with variety of other 
adventures; with epigrams suitable to each stratagem. 
Advertised in Hillary term for Lowndes. 

217. Theopolis or the City of God; New Jerusalem in Opposition 

to the City of the Nations, Great Babylon. 
Advertised by Nathaniel Ponder, Hillary Term. 



184 



1673 

2 1 8. The Counterfeit Lady Unveiled. Being a full Account 

of the Birth and Life and most remarkable actions and 
untimely death of Mary Carleton, known by the name 
of the German Princess. 
Advertised in Hillary Term for Peter Parker and as 
The Memories of Madame Charlton for Brooks and 
Newman. (10825. aa.) 

219. The Floating Island: or, a new discovery relating the strange 

adventures on a late vouage from Lambethana to Villa 
Franca, alias Ramallia, to the eastward of Terra del 
Templo, by three ships viz. the Paynaught, the Excuse, 
the Least-in- Sight. Under the Conduct of Captain 
Robert Owe-much . . . 
Advertised in Trinity Term by Frank Careless for 
Randall Taylor, and Langbaine mentions a play of the 
same name. (Huth.) 

220. The History of the Fair One of Tunis, or the Generous 

Mistress. A new piece of Gallantry. Out of the 
French. 
Advertised in Michaelmas Term, by Henry Brome. 

221. The Life and Death of Edward the Black Prince. 

Advertised by Buck in Hillary Term. 

222. The Loves of Sundry Philosophers and Other Great Men. 

Translated out of French. 
Advertised in Hillary Term for Herringman and Starkey 
and in Trinity Term for the same publishers. The 
Amours of Solon, Socrates, Julius Caesar, Cato of 
Utica, d'Andelot and Bussy d'Amboise. 

223. The Mercury Gallant; containing many true and pleasant 

relations of what hath passed at Paris from Jan. i, 
1672, till the King's departure thence. 
Advertised in Hillary Term by B. Parker. 

224. The Unluck';^ Citizen Experimentally described in the various 

misfortunes of an unlucky Londoner . . . intermixed 
with several choice novels . . . illustrated with pictures. 

By F. K., i. e., Francis Kirkman. (G.17717.) 

See Lit. of. R., \. 2i\ +. 



185 

225- The Witty Jests and Mad Pranks of John Frith . . . with 
Capt. James. {Lit. of R., i. 141.) 

1674 

226. An Account of Oriental Philosophy, i. e., Abu Jaafar 

Ebn Tophail. See no. 219, 1671. 

227. Erastus or the Roman Prince. Being a full Account of 

that famous History of the Seven Wise Masters. (Fry.) 
Francis Kirkman translated this from the French 

Erastus in 1674. It was reprinted in 1684. 

(Quaritch.) 
Roland's translation of The Seven Sages, compiled in 

1547, was reprinted in 1620. 

228. The Grand Pyrates; or the Life and Death of Captain 

George Cusack, Pyrate, and six Companions. (Lit. 
of R., i. 141.) 
Advertised for Jonathan Edwin, Easter, 1675. 

229. Jackson's Recantation, or the Life and Death of the No- 

torious Highwayman. 
Advertised in Easter Term by Newman. 

230. Legend of Captain Jones, Relating his Adventures at Sea, 

first landing and combat with a mighty bear. 
Advertised in Michaelmas Term. 

231. Sad and Lamentable News from Rumford being a true and 

dreadful relation of the sad and dreadful end of W. 
Stapeler. (1132, b.78.) 

232. The Secret History of the Court of the Emperor Justinian 

Written by Procopius of Ccesario. Faithfully ren- 
dered into English. 
Advertised in Trinity Term by Barkesdale. 

1675 

233. Beraldus, Prince of Savoy. A novel in two Parts. Trans- 

lated out of French by a Person of Quality. 
Advertised Easter Term for Grantham and J. Crump. 

234. The Bloody Innkeeper, or sad and barbarous News from 

Glocester-shire; being a true relation how the bodies of 
seven men and women were found murthered in a garden 
belonging to a house in Putley near Glocester. With the 



186 

strange . . . manner how the same was discovered, etc. 
(10803, aa. 16. (i).) 

235. The History of the Sevarites of Severambi. By Captain 

Siden. Part I. 

In 1678 appeared in Paris, a second part in French, and 
in 1679 ^ second part in English. 

Crossley attributes the whole to one Vossius, a Dutch- 
man resident in England. Begley agrees with 
Prosper Marchand, that it was written by Denis 
Vairasse D'allais En Longuedoc, primarily because 
the initials at the close of the introduction are D.V. 
D.E.L. ; but these initials appear only in the French 
versions. 

1676 

236. Don Carlos; an historical relation of the Life and Death 

. . . of that Spanish Prince so?i to Philip II. from 

the French of Vischard de Saint Real by H. J. [1672].! 
In Michaelmas Term Herringman advertised a "second 

edition." 
1729, reprinted in a Select Collection of Novels, vol. iii. 

(12602, aaa.) 
It was upon this romance that Otway founded his play 

"Don Carlos." (1676.) 

237. English Adventures. By a Person of Honour (Roger 

Boyle). (G. 17716.) 
It is from this story that the plot of Otway 's "Orphan" 
is said to be derived. 

238. History of the Grand Viziers Mahomet and Achmet Cop- 

rogli . . . with the 7nost Secret Intrigues of the Ser- 
aglio. 
Advertised in Michaelmas Term by Browne. 

239. Scarron's Comical Romance; or, a facetious History of 

A Company of Strolling Players. Translated by 
P. Porter. (12510, 1.2.) 

1 According to the D.X.B. the English version appeared in 1674 but I can 
find no authority for that date and F. W. C. Leider who has made a special 
studj- of this subject — "The Don Carlos Theme in Literature," in J. of Eng. 
and Gertn. Philology, Oct., 1910, ix, 4, 4S3-499 — gives the date of the trans- 
lation as 1676. 



187 

It was re-translated in 1700 by T. Browne in Scarron's 
Complete Works. And other editions appeared in 
1703 and 1727. 

240. The Sicilian Tyrant, or the Life of Agathodes; with some 

Reflections on our late Usurpers. 
Advertised in Easter Term by R. Royston. 

241. Tachmas, Prince of Persia. An Historical Novel; which 

happened under the Sophy Soleman who reigns this 

day. Translated by P. Porter. 
Advertised in Michaelmas Term. 
Langbaine mentions it as a source for Southerne's Loyal 

Brother. 

242. A True Narrative of a Wonderful Accident which occurred 

upon the Execution of a Christian slave at Aleppo. 
(816, m.23.22.) 

243. A True Tragical History of Two Illustrious Families under 

the names of Alcimus and Vannoza. Written in 
French by the learned J. P. Bishop of Belley. Done 
into English by a Person of Quality. 
Advertised in Michaelmas Term by Wm. Jacob. 

244. Zelinde, an Excellent New Romance, translated from the 

French of Monsieur de Scudery. By T. D. [Thos. 

Durfey or Dufifet?] 
Included in Mod. Nov., vol. vii. 
This is a burlesque rendering of Voiture's Alcidalis. 

1677 

245. Almahide, or the Captive Queen. Translated from the 

French version of M. de Scudery [1660] by John 
Phillips. "An excellent new romance, never before 
in English, which work written in French by the 
accurate pen of M. de Scudery. . . . Done into 
English by J. P., Gent." (Col. 843, Scu. 21.) 

246. Asteria and Tamberlaine, or the Distressed Lovers. A 

Novel written in French and Englished by E.C. 
Advertised Trinity Term by R. Sollers. 
In 1681, Langbaine mentioned it as "done by Ch. 

Saunders." See no. 285, 1680. 
47. Capello and Bianca, a novel. Written in French and now 

Englished by L. N., Gent. 



188 

Advertised Michaelmas Term by Enoch Wyer. 

248. The Cheating Gallant: or the false Count Brion. A pleas- 

ant novel. Translated from the French [of Gabriel 
de Bremond, Paris, 1677] hy a Person of Quality. 
Included in Mod. Nov., vol. ii. 

249. The Confessions and Execution of the five prioners suffer- 

ing at Tyburn. By T. Sadler. (6495, aa. 2 (3).) 
Revised as Sadler's Memoirs. (ii32,a.29.) 

250. Evagoras. A romance. By L. L., Gent. (Huth.) 

Advertised Hillary Term for Robt. Clavel and Th. 
More. 

251. The Happy Slave; a novel. Translated from the French 

[of Gabriel de Bremond 1678] hy a Person of Quality. 

(12512, aa.i.) 
Also in Mod. Nov., vol. ix, and a new translation 

(12602, aaa.) in a Sel. Col. Nov., vol. iv., 1728. 
In 1677, for the same publishers was advertised in 

Hillary Term the French version: "Uheureuse Es- 

clave combining the loves of Laura and dedie a 

Ossory.'' 

252. The History of the Golden Eagle by Philaquila (12613,0.11.) 

A fairy story in chap-book form. 

253. The Lives of Sundry notorious Villains. . . Together with 

a novel as it really happened at Roan in France. 
Advertised in Michaelmas term for Sam. Crouch. 

254. A Narrative of the Adventures of L. Marott, pilot royall of 

the galleys of France; giving an account of his slavery 
under the Turks, his escapes out of it and other strange 
occurrences that ensued thereafter. Tr. from the 
French copy. (1451a) 

255. Pharamond; or the History of Frajice. A Famed Romance 

in twelve parts. Written by the author of Cassandre 
and Cleopdtre (La Calprenede). Translated by J. 
Phillips. 

1678 

256. An Alar me for Sinners, or the story of Robert Foulkes late 

minister of Stanton Lucy. {Lit of R., i. 155.) 

257. Almanzor and Almanzaide. A novel written by Sir 



189 

Philip Sidney (pseud)[?] and found since his death 

among his papers. 
Advertised Trinity Term by Magnes and Bentley. 
This is probably the same as Almanzaide. A Nouvelle, 

(12513, a.35.) by Mile, de la Roche Guilhem [Cologne, 

1676], a typical Franco-Greek romance with Oriental 

setting. 

258. The Amorous Convert; being a true relation of what hap- 

pened in Holland, 
Advertised Michaelmas Term for R. Tonson. 
Is this Mrs. Behn's Fair Jilt? See no. 352, 1688. 

259. A Collection of Select Discourses out of the most eminent 

Wits of France and Italy. . . ADialogue of Love, Wal- 
lensteins' conspiracy by Sarasin, Alcidalis, a Romance 
by Mr. Voiture. Freskie's Conspiracy by Signor 
Mascardi. (836, c.i.) 

260. Diana, Dutchess of Mantua, or the Persecuted Lover. A 

Romance, hy K.CdivXeton. (i26ii,c.) 

261. The English Princess, or the Dutchess Queen: A relation of 

English and French Adventures. A novel tr. from the 
French (12614, eee.14.) 
The story of Mary Tudor, sister to Henry VIII and 
wife of Louis XII of France. 

262. Five Love-Letters from a Nun to a Cavalier. Done out of 

French into English. By R. L'Estrange. 
This was reprinted in 1693. Meanwhile, in 1683, 
appeared Seven Portugese Letters; being a second part 
to the Five Love-Letters from a Nun to a Cavalier which 
was also reprinted in 1693. In 1694 came Five Love- 
Letters written by a Cavalier {the Chevalier Del) in 
answer to the five love-letters written to him by a Nun 
which were reprinted with the original letters in 
1 7 16. There were six metrical versions of the Letters, 
in 1701, 1713, 1716, 1716 and 1718, and 1731. 

263. The Heroine Musqueteer; or the female Warrior. A true 

history very delightful and full of pleasant Adventures 
in the campaignes of i6y6-'j'j. Translated out of 
French [of Prechac, Holland, 1677]. 



190 

Advertised in Hillary Term for Magnes, Bentley, and 
Tonson. 
It was reprinted in 1700. (12511, bb.8.(i).) 

264. The Mock-Clelia; being a comical History of French Gal- 

lantries and novels in imitation of Don Quixote. 
Translated from the French of Perdou [Paris, 1670- 
80]. 
Advertised Hillary Term by J. Curtis. 

265. The Obliging Mistress; or The Fashionable gallant; a novel. 

By a person of Quality. (635, 3.23.(2).) 
Another ed., Mod. Nov., vii. (12410, c.) 

266. The Pilgrim's Progress from this world to that which is to 

come: delivered under the similitude of a dream. By 
John Bunyan. (C.25, c.24.) 
Other editions as follows: 

1679, 1680, 1680, unauthorized second part; 1682, 
1682, 1684, 1685, 1688, 1689, 1692, 1695, 27th 1728; 
1737, -fol.; 1684, Part H; 1686, 1690, 1693, 1708, 
1712, 1723, 1726, 1728, 1732, 1742-3; 1693, a spurious 
third part; 1698, Pilgrim's Passage in Poesie, by 
Ager Scholoe. 1700, Pilgrim's Progress Done into 
Verse by F. Hoffman. 

267. A Pleasant Novel; discovering the amours and intrigues 

of a Town Gallant, in the delectable Amours of Allqphet 
and Astrea accompanied by Roderick in several ad- 
ventures. 
Advertised Easter Term for W. Leach. 

268. Triumph of Love over Fortune. A Pleasant Novel. Writ. 

ten in French by Gabriel de Bremond, and Englished 
by a Person of Quality. [Paris, 1677]. 
Included in Mod. Nov., vol. iv. 

269. The Viceroy of Catalonia . . . made English from the 

French of Gabriel de Bremond. By James Morgan. 
(12512, aa.(2).) 

270. Zayde. A Spanish history, or romance. Originally writ- 

ten in French. By Monsieur Segray (and the Count- 
ess de La Fayette [Paris, 1670]). Done into English 
by P. Porter. In two parts. (012547. i. 17.) 
In 1690 another ed. "corrected." (12511, aa.20.) 



191 

In 1720 included in Sel. Col. Nov., vol. i. 
In 1729 included in Sel. Col. Nov., vol. i. 

1679 

271. The Count d' Amhoise, nouvelle galante. (613, b.27.) 

The first part of this is practically identical with The 
Generous Lover, 1689. Mod. Nov., vol. ii. 

272. Diana, Duchess of Mantua. By Rowland Carlton. 

(12611, c.) 

273. Fatal Prudence; or Democrates the Unfortunate Hero. 

A novel translated out of the French. (635, d.3(2).) 

Also in Mod. Nov., vol. vi. 
A short romance. 

274. The History of Appian of Alexandria in two parts. The 

first Punick, Syrian, Mithridatic, Illyriann, Spanish, 
and Hannibalistic Wars. Part second, in five books 
the Civil Wars of Rome. Translated by J. Davies.^ 
(586.1.17.) 

275. The Life of the renowned Peter d'Aubusson, grand master 

of Rhodes. Translated from the French of D. Bon- 
hours. A continuation of the History of Rhodes 
under the government of Philip de Villiere. (613, 
b. 27.) 
Advertised in Michaelmas Term, 1678, as The Life of 
the renowned Pierre d'Aubusson, Grand Master of 
Rhodes. . . . Sieges of Mahomet and Solyman. 

276. Wife for a Husband and a Husband for a Wife; or, a Popish 

priest turned match-maker between a knight and a 
gentlewoman of pretended great fortune . . . with 
news from Prester- John's country. (T.88(25).) 

16802 

277. Amours of Madame and the Count de Guiche. Translated 

by a Person of Quahty from the French. (1080, 
b.24.) 

1 Davies translated many quasi-fictitious pieces, as for example, Olearius's 
Travels, 1662, Life and Philosophy of Epictetiis, 1670, Henry the Great, cf France, 
1672 etc. See "Jolan Davies of Kidwelly" by Sidney Lee in D.N.B. 

2 Presumably to this year belongs Mrs. Behn's translation, Lycidas. See 
Ajite, p. 77. 



192 

278. The Count of Gahalis; or, The Extravagant Mysteries of 

the Cabalists exposed in five pleasant discourses on 
the secret sciences. Done into English (from the 
French of Abbe de Montfaucon de Villars) by P. 
A[yres], Gent, with short animadversions. (19, e.19.) 

Included in Mod. Nov., vol. ii. 

And in Sel. Col. Nov., vol. v, 1722. 

279. The History of the most renowned Queen Elizabeth and 

her great favorite the Earl of Essex. A romance in 
two parts. (G. 1515.) See 126, 1650. 

280. Hattige, or the Amours of the King of Tamaran [that is 

of Charles II of England with the Dutchess of Cleve- 
land]. A novel [by G. de Bremond, 1676]. Trans- 
lated from the French by B. B. (12510, aaa.) 
It was included in Mod. Nov., vol. i, and in 1720, it was 
reprinted as The Beautiful Turk. 

281. The Life and Death of Mr. Badman presented to the World 

in a familiar Dialogue between Mr. Wiseman and 
Mr. Attentive. (4415b.) 
There were reprints in 1696, 1734, etc. 

282. The Novels of Elizabeth . . . containing the history of 

Anne Bullen. Rendered into English by S. H[ick- 
man] from the French [of the Countess d'Aulnoy, 
Paris, 1674]. (G. 1516.) 

Short stories supposed to be told by the Duke of North- 
umberland at Elizabeth's command, in which the 
ruin of Anne is attributed to the machinations of a 
Mistress Blount. 

In 168 1, appeared Pt. II, containing the history of Bassa 
Solyman and the Princess Eronima. The last part. 
Englished by S. Hickman [from the original French 
of the Countess d'Aulnoy, 1680]. (12604, bbb.14.) 

Reprinted in 1700?, 1725, 1730 with a "second part," 
and in 1740?. 

283. The Pilgrim: a pleasant piece of gallantry: written in 

French by G. de Bremond [1675]?. Translated by 
Peter Belon. (1208, e.I.) 
Reprinted in 1700 with part II. (12511, bb.8(3).) 



193 

284. The Princess of Montferrat. A Novel. Translated from 

the French. 
Contained in Mod. Nov., vol. x. 

285. Royal Loves; or, the Unhappy Prince. A Novel. Written 

in French by a Person of Quality. Now rendered into 
English. (125 10, aaaa.8.) 

A typical romance of crossed loves in the "Chinese 
box" method. The heroine is Asteria, daughter of 
Bajazet, and the hero Adanaxus, son to Tamberlaine, 
so that this may be a reprint or variation of "Asteria 
and Tamerlaine." 

Cf. no. 246, 1677. 

286. The Vain Prodigal Life and Tragical Penitent Death of 

Th. Hellier the murderer executed in Virginia, in 1678, 
(Huth.) 

1681 

287. The Extravagant Poet. A Comical Novel. Translated 

out of the French. In Mod. Nov., vol. viii. 
This is really a satirical "character." 

288. Gallant Memoirs: or the Adventures of a Person of Quality, 

Translated from the French of G. Bremond [Paris, 
1680], by P. Belon. Mod. Nov., vol. ix. 

289. Homais, Queen of Tunis. A Novel. Translated from 

the French of Bremond? [Amsterdam, 1681] by 
Sebastian Grenadine. Mod. Nov., vol. i. 

290. The Life of Francis of Lorrain, Duke of Guise. Trans- 

lated from the French. {Mod. Nov., vol. vi.) 

291. The Most Delectable History of Reynard the Fox. Newly 

corrected and purged from all grossness in Phrase and 
Matter. (Malone.) 
Pt. Ill, or Reynardine, a compilation by Brewster, 
was added in 1684. Pt. I, the original Flemish ver- 
sion of Reinike de Vos, appeared in 1479, was trans- 
lated and printed by Caxton in 148 1 and continually 
reprinted. In 1681 appeared the English additions, 
presumably by Edward Brewster. Reprinted in 1 701 . 

292. Strangements; news from the land of Chivalry. (Sh.12612, 

i.) 
A satire on Sir Roger L' Estrange. 
14 



194 

293' A True Relation of a Strange Apparition which appeared 
to Lady Grey commanding her to deliver a message 
to . . . the Duke of Monmouth. (105, €.59(2).) 

A Reply, The Lady Grey Vindicated appeared very 
soon thereafter. (816, m.2(i8).) 

These are news-sheets. 

294. The Unequal Match; or, the life of Mary of Anjou . . , 

an historical Novel. Translated from the French 
of Jean de La Chappelle by F. S., i. e., Ferrand 
Spence, 2 pts., and bound with Mod. Nov., vol. xii. 
(12612, de.S.) 

1682. 

295. Altizira, Princess of Fess; or the amours of the court of 

Morocco. A novel. Translated from the French of 
G. de Bremond by P. Belon (125 12, b.). Bound with 
Mod. Nov., vol. vii. 

296. The Emperour and the Empire Betrayed. Mod. Nov., 

vol. xii. More of a political essay than a narrative. 

297. Meroveus, (son of Chilperic I of France) a Prince of the 

Blood-royal of France. A novel. Translated from 
the French by F. S., i. e., Ferrand Spence. (12510, 
aa.7.) Bound with Mod. Nov., vol. ii. 

298. A New Version of the Lady Gr — s {i. e., of Mary, Lady Grey 

of Werke] concerning her sister, the lady Berkeley. 

In a letter to Madame Fan . (1892, d.78.) 

a. Post no. 394, 1693; no. 584, 1728, and no. 627, 1734. 

299. The Novels of G{iovanni) F(rancesco) Loreda?io (younger) 

. . . Translated into English. [Nine novels.] (1073, 
a.40.) 

300. The Perplexed Prince, by S. T. (292, a. 34.) 

A chapbook in which the old king and the peasant 
device is used to urge the cause of the Duke of Mon- 
mouth. 

The presumption is that the work was written before 
1682. 

1683 

301. An Account of the Secret Services of M . de Vernay . . . to 

Count Teckeley, as they passed by the way of Letters, 
etc. Translated out of the French. (1058. a. 18 (2).) 



195 

This may not be fiction, see under 1686 and 1693. 

302. The Countess of Salisbury. . . . An Historical Novel. 

Translated by Ferrand Spence from the French of 
d'Argenia. (837, a. 3, and Mod. Nov., vol. iii.) 
This is an elaborated version of the story in Painter. 

303. The Crafty Lady; or, the Rival of Himself. A Gallant 

Intrigue. Translated "out of French into English 
with an epistle dedicatory," signed F.C.Ph. (12511, 
aaaa.42.) 

304. Don Sebastian, King of Portugal. Translated by Ferrand 

Spence. {Mod. Nov., vol. v.) 
Cf. no. 4, 1601. 

305. The Dutch Rogue; or Guzman of Amsterdam, traced from 

the cradle to the gallows; being the life and fall of D. de 
Libechea, a decayed merchant. 
Advertised in Trinity Term by S. Smith. 

306. Eromena; or the Noble Stranger. (12511, e. 20.(2).) 

A prose version of Chamberlayne's Pharonnida. 

307. The Essex Champion; or the Famous History of Sir Billy 

of Billercay and his squire Ricardo. {Lit. of R.,'\. 1 12.) 

308. The Fortunate, the Deceived, and the Unfortunate Lovers. 

Three excellent new novels, containing many delightful 
Histories. Printed in English and French, written by 
the Wits of both nations. 
Advertised in T. C. in May. Cf. no. 632, 1735. 

309. The History of the Bucaniers, translated from the Dutch 

by Alexander Oliver Exquemelin, De Americaensche 
Zee-Roovers. Amsterdam, 1678. {Lit. of R., i. 178.) 

310. The Neapolitan; or the defender of his mistress. Done 

out of French [1682] by Mr. Ferrand Spence. 
Advertised in June by Bentley and Magnes. 

311. The Perplexed Princess, or the famous novel of Donna 

{Maria de) Zagas. Written originally in Spanish. 
Advertised in July by T. Malthus. 

312. The Travels of True Godliness from the beginning of the 

world to the present day; in an apt and pleasant allegory. 
By Benjamin Reach. (4415, c.) 
Reprinted in 1684 with 'T. G.'s Voyage to Sea,'^ and 
in 1700, '08, '18, '26, '33. 



196 

313- The Unsatisfied Lovers. A new English novel. 
Advertised in November for J. Partridge. 

1684 

314. The Adventures of the Little Black Lady. By Aphra 

Behn. 
No edition of this year is extant but Professor Siegel 
assigns this date. 

315. The Amours of Bonne Sforza, Queen of Polonia. Trans- 

lated from the French by P(eter) B(elon). In Mod. 
Nov., vol. viii. 

316. The Amorous A.: or Love in a Nunnery. A novel. Trans- 

lated from the French by a woman of quality. Bound 
with Mod. Nov., vol. v. 

317. The Chaste Seraglian; or Yolanda of Sicily. Translated 

by "T. H., Gent" from the French of Prechac, 

1678. 
Advertised in Michaelmas Term for T. Malthus. 
Included with a second part, printed in 1685, in Mod- 

Nov., vol. vi. 

318. Dialogues of the Dead, etc. Mod. Nov., vol. xii. 

319. The Famous Romance of Tar sis and Zelie; digested into ten 

hooks. Written originally by an acute pen of a person 
of honour. Done i^ito English by Charles Williams, 
Gent. 
Advertised in November for N. Ponder. 

320. The Great Alcander. 

Advertised in Michaelmas Term. 

Probably a reprint of the translation of Les Amours 

de Henri IV ou du grand Alcandre. See no. 181, 

1661. 

321. The Life and Death of Mother Shipton strangely preserved 

among other writings belonging to an old monastery in 
Yorkshire and now published for the information of 
posterity. By R. H., i. e., Richard Head. (8631, 
aaa. 12.) 

322. Love Victorious over Fortune. Bound with Mod. Nov. 

vol. iv. 

323. The Progress of Sin, or the Travels of Ungodliness . . . 



197 

in an apt and pleasant allegory; together with the . . . 
manner of his apprehension . . . tryal . . . and exe- 
cution. By Thomas Keach, Author of War with the 
Devil. (4415, c.) 
Reprinted in 1700 with additions, and in 1707, 1724, 
1727 etc. 

324. The Travels of Don Francesco de Quevedo Through Terra 

Australis Incognita; discovering the laws, customs, 
manners, and fashions of the South Indians. A novel 
originally in Spanish. 
A very poor Quixotic romance, (Begley.) 

325. The Triumph of Friendship and the Force of Love. Two 

new novels from the French. 
Advertised in November for J. Brown & J, Walthoe. 

1685 

326. The Academy of Complements: or, a new way of wooing. 

Wherein is a variety of love-letters, very fit to he read 
of all young men and maids that desire to learn the true 
way of complements. (12314, aa.17.) 
It appeared again in sHghtly varying forms in 1705, 

1713- 1715- 

327. The Court of the King of Bantam. By Aphra Behn. 

This date is only approximate. 

328. Don Heneriques de Castro, or the Conquest of the Indies. 

A Spanish Novel. Translated hy a Person of Honour. 
In Mod. Nov., vol. i. 

329. The Familiar Epistles of Col. Henry Martin found in his 

Misses Cabinet. (Cat. no. 44 issued by Ellis and 
White.) 

330. The Gallants; or the Reciprocal Confidents. A Novel. 

Translated hy a Person of Quality. (12512, ccc.i6.) 



198 

16861 

331- A gratis, Queen of Sparta; or the Civil Wars of the Lace- 
demonians, in the Reigns of Kings Agis and Leonidase 
In two Parts. Translated out of the French [of 
Pierre d' Hortigues, Paris, 1685]. 
Advertised in February by Bentley and Magnes. 

332. Amours of Count Teckeli, and the Lady Aurora Veronica de 

Serini. Containing his First Inducements to make 
War with the Emperor, and to Enter into the Turkish 
A rmy against the Christians . Translated out of French 
[1685]. (12511.de.24.) 
See ante no. 301, 1683 and post no. 396, 1695. 

333. The Character of Love guided by Inclination, instanced in 

two true histories translated out of French. In Mod. 
Nov., vol. iv. 

334. Delightful Novels exemplified in eight choice . . . Histories 

lately related by the most refined wits, with interludes. 
. ... In which are comprised the . . . adventures 
. . . of several English gentry. . . . Fourth Impression 
enl. with the addition of two 7iew novels. (1081, d.6.) 

335. A Dialogue between Francesco and Aurelia, two unfortu- 

nate orphans of the City of London. In Delightful 
Novels. 

336. Love's Poesie: or, a collection of seven and twenty love- 

letters, both in verse and prose; that lately passed 
betwixt a gentleman and a very young lady in France. 
(10910, aa.22.) 
Cf. no. 393, 1693. 

337. Nugae Venales: or, a complaisant companion; being new 

jests . . . The third edition corrected, with many new 
additions. By Richard Head. (i23i5.a.34.) 

338. The Secret History of the House of Medici. Written origi- 

nally by that famed historian, the Sieur Varillas. 
Made English by Ferrand S pence. 

1 1 am told by Professor Trent, to whom the remaining footnotes to this 
appendix are due that this was advertised in L'Estrange's Observator for Jan. 
16, 1685-6 and that the advertisement bears the date 1686. We read in the 
same journal under the date Oct. 13, 1686. "Advertisement La Montre: Or 
the Lovers Watch, By Mrs. A. Behn, Printed for W. Canning, at his Shop in 
Vine-Court, Middle-Temple, 1686." 



199 

Advertised in February by Bentley and Magnes. 

1687 

339. Cynthia: with the tragical account of the unfortunate loves 

of Almerin and Desdemona. A novel . . . Done by 
an English Hand. (Bodleian.) 
An American reprint appeared in 1798. 

340. The Gallant Hermaphrodite. An amorous novel translated 

from the French of Sieiir Chavigny. 
Advertised in November by Manship, 

341. The History of Nicerotis; a pleasant Novel. (116, 11, a. 7.) 

Another edition, has the title ''The Fragments of a 

History, etc.'" (123330, aaa.6.(4).) 
This is a very complicated and highly indecorous tale 

involving many earlier novelle. 

342. The History of the Nine Worthies of the World. R. 

B(urton, pseud. Nathaniel Crouch). (10603, a.) 
Reprinted in 1703. 

343. An Hue and Cry after Conscience. (Brown's Life of 

Bunyan.) 
This is a burlesque. 

344. Letters writ by a Turkish Spy, who lived five and forty 

years at Paris; giving an Account . . . of the most 
remarkable transactions of Europe . . . from 1637 to 
1682. Translated by W. Bradshaw and others from 
the French of Marana. See ante, p. 66. 
26 editions by 1770. 

345. The Martyrdom of Theodora and Didymous. By a Person 

of Honour. (Hon. Robert Boyle.) (861, g.4.) 

346. The New Disorders of Love. A gallant novel. Written^ 

by Richard Gibbs, of Norwich, Phi. Med. 
Advertised in February by Bentley and Magnes. 

347. Ottoman Gallantries, or the Life of the Bassa of Buda. 

Done out of French. In Mod. Nov., vol. vi, as Ibrahim, 
Bassa of Buda. From the French of Zesien de Fur- 
stenair, 1645. 

iThe advertisement in the Observator Mar. 2, 1686-7 shows that this novel 
really belongs to 1687. It is advertised immediately below "Ottoman Gallan- 
tries, or the Life of the Bassa of Buda. Done out of French." 



200 

348. The Spanish Decameron; or ten novels viz. The Rival 

Ladies, The Mistakes, The Generous Lover, The Liber- 
tine, The Virgin Captive, The Perfidious Mistress, The 
Metamorphosed Love, The Impostor Outwitted, the 
Amorous Miser, the Pretended Alchemist. Made 
English by R. L. (Bodleian.) 
Advertised in May by S. Neale. 

1688 

349. The Art of Making Love in Mod. Nov., vol. vi. 

350. Clitie; a novel. By Richard Blackborn, Gent. 

Advertised in February by Bentley and Magnes. 

351. The Count de Soissons: a gallant ?iovel (by Isaac Claude). 

Translated out of French. In Mod. Nov., vol. x. 
In 1731 appeared a second edition. (1081, d.25.) 

352. The Disorders of Bassett, a novel. Done out of French. 

(12510.) 

353. The Fair Jilt. By Aphra Behn. 

Again, this date is only approximate. See no. 258, 1678. 

354. The Fatall Beauty of Agnes de Castro. Taken out of the 

History of Portugal. Translated by "P. B. Gent." 
from the French. Mod. Nov., vol. v. 
This version is practically the same as the one included 
among Mrs. Behn's novels and Prof, Siegel assigns 
her translation to this year. 

355. The History of the Loves of Lysander and Sabina, a novel. 

(635, a.42.) The dedication is signed T. S. 

356. The History of the Royal Slave; or Oroonoko. By Aphra 

Behn. 

357. The Life of St. Francis Xavier of the Society of Jesuits, 

Apostle to the Indians. Translated by Mr. Dryden. 
[from the French of D. Bouhour]. (862, f.8.) 

358. The Princess of Cleves . . . written by the greatest wits of 

France [Marie Madeleine Motier, Countess de la 
Fayette, 1678], (12512.ee. 6.) 
In 1722 there was a different translation in Sel. Col. 
Nov., vol. 2, and in 1729, a second edition of above. 

359. Simplicissimus. Translated from the German of Grim- 

melhausen. 
Advertised in February for Baldwin. 



201 

360. Three novels in one, viz.: The Constant Lovers, Fruits of 

Jealousy, Wit in a Woman with Sempronia or the 
Unfortunate Mother. By R. Blackbourn, Gent. 
Advertised in May for G. Grafton. 

1689 

361. Amours of Messalina, late Queen of Albion. In four 

parts. Translated from the French. (635, a.4.(i).) 
Reprinted with an additional fifth part in 1690 as The 
Royal Wanton. 

362. Amours of the Sultana of Barhary . . . (i. e., L. R. de 

Penancoet, de Keroualle, Duchess of Portsmouth), 
A novel, in 2 pts. (G. 13992.) 
Reprinted in 1690 as The Secret History of the Dutchess, 
etc. (836, b.6.) 

363. The Count of Amboise; or the Generous Lover. A novel 

written originally in French by Madam . . . [Cath- 
erine Bernard]. Pt. I. 
Included in Mod. Nov., vol. xi. Cf. no. 271, 1679. 

364. The Court Secret; a novel. (Mod. Nov. vol. vi.) 

365. The Governour of Cyprus or the Loves of Virotto and Dor- 

othea. A novel. 
Advertised in November for J. Knapton. 

366. The History of the Nun; or the Fair Vow Breaker. By 

Aphra Behn. 
Reprinted in her collected works as The Perjured 
Beauty. 

367. Intrigues of Love; or Amours and Gallantries of the French 

court during the reign of the amorous and warlike 

Prince Henry IV. 
Newly translated from the French by Sir Edwin 

Sadlier. See ante, no. 181, 1661, and no. 320, 1684. 
Advertised in May for B. Crayle. 

368. Love Letters between Polydorus and Messalina (Gay). 

369. The Lucky Mistake. By Mrs. Behn. In Mod. Nov., 

vol. i. 

370. Peppa: or, the Reward of Constant Love. A novel. Done 

out of French. With several songs set to music for 
two voices. By a young gentlewoman. A. C. [Lady 
Cokaine?]. (Bodleian). 



202 

A typical romance of the Franco-Greek variety. 

371. The Rival Princesses or the Colchian Court, A novel. 

In Mod. Nov., vol. x. 

372. The Wanton Fryer, or the Irish amour. A new novel. 

Advertised in May for Bentley and Magnes. 

1690 

373. Amours of Philaris and Olinda. Dedication signed S.L. 

2 pts. (80828, bb.i6). 

Advertised in May, but the B. M. edition is of 1730, 

374. The Cabinet Open'd; or the Secret History of the Amours 

of Madam de Maintenon with the French King. Mod. 
Nov. vol. xi. 

375. Gallantry Unmasked; or women in their proper colours. 

A Novel. 
Advertised in November by Bentley. 

376. The Great Scanderheg, a novel [by M. Chevreau] done out 

of French. Mod. Nov., vol. xi. 
This tale is probably founded on a Latin biography. 
Scanderheg. Barletius (Marinus) de Vita, Moribus 
ac Rebus praecipue adversus Turcas gestis Georgii 
Castrioti, clarissimi Epirotarum principis . . . lihri 
tredecim, 1537. (Quaritch.) 

377. The History of the Marechalless de la Ferte Senneterre. 

In Mod. Nov., vol. viii. 

378. The Irish Rogue; or the comical history of the Life and 

actions of T{eague) 0'D{ivelley) from his birth to this 
present year, i6go. (With a preface by J. S.. 
(io79.b.5) 

379. The Revived Fugitive; a gallant Historical Novel. In 

Mod. Nov., vol. vii.^ 

1691 

380. Casimer, King of Poland. Translated by Ferrand 

* In 1690 appeared the first edition of B. Star's translation of "The History 
of Madamoiselle de St. Phale," a popular account of the conversion to protest- 
antism of a French lady and her daughter and of the defeat of a wily Jesuit. 
Still more suggestive of fiction is "The French Convert" of A. D'Auborn, of 
uncertain date, but about this period. Both these books have been erroneously 
attributed to Defoe. An edition of the second was printed at Haverhill, 
Mass., in 1794. 



203 

Spence from the French. Included in Mod. Nov., 
vol. ii. 

381. The French King proved a Bastard: or, the Amours of 

Anne (Queen to Louis XIII) with the Chevalier de 
Roan. 
A second edition was issued in 1692. (901, a. 21.) 

382. The Secret History of the Duke of Alangon and Queen 

Elizabeth. Included in Mod. Nov., vol. i. 

1692 

383. The Female Gallant; or the Wife the cuckold. A novel. 

Advertised in May by S. Briscoe. 

384. The Illustrious Persian Maid: or Amours of a German 

Prince. 
Advertised in Mod. Nov. for Gil. Cowerly. 

385. Incognita: or Love and Duty ReconciVd. By Cleophil, 

I. e., William Congreve. (Bodleian.) 

386. Memoirs of the Court of Spain. In two Parts. 

Written by an Ingenious French Lady. [Countess 
d'Aulnoy.] Translated by T. Brown. 

387. Modern Novels in 12 vol. 

See Collections. 

388. Murder Will out, an Impartial Narrative of the . . . Life 

of Capt. Harrison who was . . . convicted . . . for 
the Murder of Doctor Clench. (10826, i.15.) 

389. A New Discourse of Terra Incognita Australis, or the 

Southern World. By Jacques Sadeur, a Frenchman 
"who being wrecked lived thirty-five years in that 
country." 
Advertised by Dunton. 

390. The Notorious Impostor. Issued in two parts. Reprinted 

in 1694. (Lit. of R., p. 152.) 
It celebrates after the manner of the Spanish rogue 
romances the villanies of William Morrell. 

391. The Rival Mother; a late true history digested into a Novel. 

(1076.1.2(33).) 

392. Taxila or Love preferred above Duty. A Novel. By 

W. D., Gent. (12614.CCC.7.) 



204 

1693 
393- Letters of Love and Gallantry and several other subjects. 
With the Adventures of a Young Lady, written by 
Herself in several Letters to a Gentleman in the Country. 
All written by Ladies. Translated from the French. 
Volume II appeared in 1694. See no. 336, 1686. 

394. Love Letters between a Nobleman and his Sister [adopted 

sister] viz., F. — rd Lord G — y of Werke and the Lady 
Henrietta Berkeley, under the Borrowed Names of 
Philander and Silvia. 
The compilers of the Bodleian Catalogue attribute this 
series of fifty-two letters to Mrs. Behn, Cf. no. 298, 
1682; no. 584, 1728, and no. 627, 1734. 

395. Memoirs of the Life of Emeric, Count of Teckely, from the 

French of Lecluc. (G. 14952.) 
See Ante, no. 301, 1683, and no. 332, 1686. 

396. The Players Tragedy; or Fatal Love. A New Novel. 

(Bodleian.) 

397. The Travels of Love and Jealousy. A Novel. By H. C.> 

Gent. 
Advertised by Bentley in November. 

398. Virtue Rewarded; or the Irish Princess. A New Novel. 

By an English Hand. (Bodleian.) 
Also included in Mod. Nov., vol. xii. 

1694 

399. Adventures of the Helvetian Hero: or Amours of Armadorous 

and Vincentia, Countess of Albania. A Novel. 
Signed A. (12612, de.) 

400. Five Love-Letters written by a Cavalier in answer to the five 

love-letters written to him by a nun M{arianna) 
Ailcoforado). Translated from the Portuguese 
[French], (1085, b.2o(2).) 

401. The Unfortunate Court Favorities of England; — Galveston, 

Spencer, Roger Mortimer, Stafford, Jane Shore, Wool- 
sey, Cromwell, Essex, Bucks, Strafford — with their 
amours. 
Advertised in November by N. Crouch. 

402. The Unhappy Lovers: or, the Timorous Fair One. A 



205 

novel. Being the loves of Alexander and Mellecinda. 
In a Letter. (12611, d. 6.) 

1696 

403. Histories and Novels. By Mrs. Aphra Behn, together 

with her Life and Memoirs. (Bodleian). 
Another edition with an account of Mrs. Behn "by 
one of the Fair Sex" was printed in 1705. There 
were other editions in 17 18 and 1722, the latter 
advertised as "the seventh." 

404. Letters, to which is added a letter from a supposed nun in 

Portugal to a gentleman in France, in imitation of 
the Nun's five letters in print, by Col. Pack. By 
Mrs. de la Riviere Manley. (1086, b.7.) 
Republished in 1725 as the Stage-Coach Journey. 

405 . The Revengeful Mistress; being an amorous adventure of an 

Englishman in Spain. (12612, e.) 

r697 

406. The History of the Amours of the Marshal de Boufflers, 

or a true Account of his Amours and Gallant Adven- 
tures. (Gay.) 

1698 

407. Abra-mulie, or the Secret History of the Dethronement of 

Mahomet the fourth. Written in French by Mr. Le 
Noble de Tenneliere. Made English by J. P. 
Advertised for Leigh in June. 

16991 

408. The Adventures of Covent Garden in Imitation of Scarron's 

City Romance. 
In spite of its announced indebtedness to Scarron it 
is more closely modelled upon Furetiere's Roman 
Bourgeois. 

409. The Adventures of Telemachus, translated by I. Littleton 

from the French of the Abbe Fenelon. 
Reprinted in 1728 and 1742. 

1 The History of Cang-Hy, the present Emperor of China, translated from the 
French of J. Bouvet (794.(1.6(1.2)), belongs to the year 1699. This is not 
fiction. 



206 

410. -4 Collection of Pleasant Novels, comprising the Secret 

History of Queen Elizabeth and the Earl of Essex, the 
Happy Slave, the Double Cuckold; v. ii, The Heroine 
Musqueteer . . . Incognita . . . and The Pilgrim. 
Advertised for R. Wellington in June and November. 

411. The Complete Mendicant; or Unhappy Beggar. (1414, 

C.27.) 
Often given to Defoe but probably not by him. 

412. The Fables of Pilpay . . . containing many rules for the 

Conduct of Human Life. Translated by J. Harris 

from the French version of G. Gaulmin and David 

Said. (243, e.8.) 
These fables had already been translated in 1570 by 

Thomas North, as the M or all Philosophie of Doni 

etc. 
In 171 1, this version was reissued with the Fables of 

Aesop as Aesop Naturalized. 

1700 

413. Amours of Edward IV. An Historical Novel. By [or 

rather incorrectly attributed to] the Author of the 
Turkish Spy. (12613, 2.) 

414. Amusements Serious and Comical Calculated for the Merid- 

ian of London. 
Reprinted in the Works of Thomas Brown, ed. J. Drake, 
1 707-1708, and reissued under slightly varying titles 
in 1711 and 1715. 

415. The Diversions of Mars and Venus, consisting of several 

Love Stories as told by little Cupid to divert Venus his 
Mother, being chiefly real Intrigues with some modern 
Amours of Tunbridge Wells. (Gay.) 

416. The English Nun; a comical description of a Nunnery. 

By an English Lady. 
Advertised in the term Catalogues of May. 

417. The French Spy: or the memoirs of Jean Baptiste de La 

Fontaine. . . . Translated from the French original. 
(10661, bb.33.) 

418. A Frolic to Horn Fair. By E. Ward. (T.927, (10).) 

419. A Full and True Account of the behaviours, confessions 



207 

last dying speeches of the condemned criminals that 
were executed at Tyburn. (515, 1.2.(185).) 

420. The Heroine Musqueteer; or, the female warrior, a true 

history . . . of pleasant adventures in the campaigns 
of 1676 and 1677. (12511, bb.8(i).) 
Translated from the French of Prechac, Paris, 1677-78. 
Cf. no. 410, 1699. 

421. The Pilgrim's Progress from Quakerism to Christianity. 

Advertised in May by Francis Bugg. 

422. The Reformer: exposing the vices of the age in several 

characters. By E. Ward. (7222, 58.) 

1701 

423. The Secret History of Miss Betty Ireland, her amorous life, 

adventures, and crimes. (Gay.) 

424. The Tyburn Calendar. (Lit. of R., p. 172.) 

425. The Unfortunate Lovers: the History of Ar gains and Par- 

thenia. Quarles's verse version turned into prose. 
(Quaritch.) 

426. The Whole Comical Works of Monsr. Scarron. Translated 

by Thos. Brown. 
Reprinted in 1703 and 1727. 

1703 

427. A Banquet for Gentlemen and Ladies. 

See Section of Collections. 

428. The London Spy Compleat. By Edward Ward. (12356, 

C.14.) 
Reprinted in 1704-06-08. 

429. The Smoking Age; or the Life and Death of Tobacco. 

By Richard Brathwaite. (1079, i.26.(io).) 
A coarse satire. 

1704 

430. The Comical History of the Life and Death of Mumper, 

Generalissimo of King Charles IPs Dogs. By Helio- 
tropolis, secretary to the Emperor of the Moon. 
Advertised in Defoe's Review and in the term Catalogues 
for June, but it is doubtful, according to Professor 
Trent, whether Defoe wrote it although it has been 
attributed to him. 



208 

431- Dialogues de M. le Baron de La Hontan: et d'un Sauvage. 
(1052, d.8.) 
Reprinted in 1728 as Suite du Voyage de V Amerigue ou 
Dialogues, etc. 

432. A Full and True Account of the discovering . . . and taking 

of S. Griffith a notorious witch, etc. (sh 512, i.2« 

(199-) 

433. An Historical Account of the Sufferings and Death of the 

Faithful. . . . by Isaac Le Fevre in the French King's 
Galleys etc. 
Advertised in May for T. Bennet. 

1705 

434. Cassandra and Others of the Sex. 

Advertised in May in the T. C. See Upham p. 397n. 

435. The Consolidator, or memoirs of sundry transactions from 

the world in the moon. . . . By the author of the 
True-horn Englishman. D. Defoe. (G. 13507.) 

436. The Secret History of Queen Zarah and the Zarazians. 

Probably by Mrs. Manley. 
There were other editions in 1709 and 171 1 and a 
French translation in 1708. 

1706 

437. A Continuation of the Comical History of the most Ingenuous 

Knight, Don Quixote de la Mancha. By the Licenti- 
ate Alonzo Fernandes de Avellaneda. Being a third 
volume never before printed in English. 
Translated by Capt. John Stevens. (Bodleian.) 

438. Female Falsehood; being the amorous memoirs of a late 

French nobleman. Written by himself . . . and di- 
■" gested by [Marguetel de Saint-Denis, seigneur de] 

St. Evremont. Second edition with part II. (12510, 
d.7.) 

439. Miracles of the Age . . . being a full and true relation, 

. . . of a young woman that lived ten weeks atid two 
days in a trance, without eating. Shrewsbury, 1706? 
(697, b.46.) 

440. Secret Memoirs of Robert Dudley, Earl of Leicester. Written 



209 

during his life and now published from an old Manu- 
script never before printed. 4 vols. (Col. 820. 8.C.68.) 
This lively, but not very edifying, account of the Earl is 
supposed to be told by an intimate friend to some 
younger men who either did not know Leicester or 
were only slightly acquainted with him. 

44 1 . yl True A ccount of the Apparition of Mrs. Veal that appeared 

the next day after her Death to . . . Mrs. Bargrave etc. 
By Daniel Defoe. 

1707 

442. The Comical Bargain or Trick upon Trick; being a pleasant 

and true relation of one Thomas Brocks, a baker's 
apprentice near Milk Street, that went for a Hamburg 
merchant, and courted an eminent doctor's daughter 
near King Street in Bloomsbury. (11631, aaa.) 
A broad-side. 

443. The Diverting Works of (Marie Catharine LaMothe) 

Countess d'Aulnoy. 

Memoirs of her own life. (12236, bb.) 

All her Spanish novels and histories, i. e.. Marquis of 
Lemos and Dona Eleonora of Montelon, Dona 
Eugena of St. Angelo, Marquis of Leyva, Dona 
Camella D'Arellano, Hortense of Ventmiglia, Marquis 
of Mansera and Dona Teresa of Castro. 

Her Letters. 

Tales of the Fairies. 

444. The Novels of Don Quevedo Villegas, Knight of the Order 

of St. James, faithfully Englished; whereunto is added 
the "Marriage of Belphegor, an Italian novel, trans- 
lated from Machiavel. (R. of R.) Cf. 1665 under 
La Picara. 

Advertised in February by John Startsey. 

Includes, The Spanish Libertines, Lives of Justina, 
Celestina, and Estevanillo Gonzalez. 

445. The Pleasant History of Taffy's Progress to London. 

Advertised in March for F. Thorn. 

This is probably similar to the doggerel satire the Welch 

Traveller by Humphrey Crouch, 1657. See Lit. of R., 

I. 209. 
15 



210 

i7o8 

446. An Account of Some Remarkable Passages in the life of a 

Private Gentleman, etc. (859, h.26.) 
A morbid account of religious experiences erroneously 

assigned to Defoe. 
Reprinted in 171 1. 

447. Almira: or, the History of a French Lady of Distinction 

Interspersed with the Histories of the Marquis de 
Montalvan and Isabella: Lindamira, or the Belle 
Espagnole. (Bodleian.) 

448. The French King's Wedding; or, the royal frolick . . . 

surprising marriage ceremonies of Madam de Main- 
tenon with Lewis XIV? (1076, h.22(2).) 

449. Hypolitus, Earl of Douglas. Containing some memoirs 

of the Court of Scotland, with the Secret History of 
Mack-beth King of Scotland. [Translated from the 
French of M. C. de La Mothe, Countess d'Aulnoy] 
To which is added the Amours of Count Schlick . . . 
and a young lady of Quality. [A translation of 
Eurialus and Lucretia by Aeneas Sylvius etc.] 3 pts. 
(12510, d.9.) 

450. Turkish Tales; consisting of several extraordinary Ad- 

ventures . . . now done into English. 
Another version, Persian and Turkish Tales Compleat 
in 1714. (I25i3.b) 

1709 

451. The Constant hut Unhappy Lovers, (sh.1076, 1.22(33).) 

This is bound in a volume with other pamphlets, the 
general title page of which advertises Robinson 
Crusoe and must obviously, therefore, be as late as 
17 19. Still the individual pamphlets may be older 
and this may well date from 1709. 

It is a very brief tale of a girl who died of grief when 
she discovered that she had eaten her lover's heart. 

452. The Distressed Child in the Wood; or the Cruel JJnkle: 

being a true relation of one Esq. Solmes . . . who 
dying left an only daughter to the care of his own brother 
etc. (1076, 1.22(39).) 



211 

453- ^^^ Island of Content; or, a new paradise discovered in a 
letter from Dr. Merryman of the same country to Dr. 
Dullman of Great Britain. By the authors of the 
''Pleasures of a single life.'' (12316, cc.3o(i).) 

454. The King of Pirates, being an account of the famous 

Captain Avery, the Mock King of Madagascar. . . . 
Written hy a Person who made his Escape from thence. 
(1204. C.5.) 

455. Love in a Passion without Discretion, or, the young mer- 

chant's sudden bargain and the cook-maid' s happy 
fortune. (1076, 1.22(43).) 

456. The Love Lottery, or, a Woman the prize. Being a pleasant 

new invention. The second edition with large ad- 
ditions. (1076. 1.22(33).) 

457. The Mall: or, the reigning beauties. Containing the . . . 

intrigues of Miss Cloudy and her gouvernante Madam 
A. (11631, aaa.) 

458. Memoirs of the Life and Adventures of Signor Rozelli . . . 

done into English [by D. Defoe?] from the second 
edition of the French of the Abbe Olivier [Paris, 
1708]. 2 vols. (G.13510, II.) 

1713 appeared a second edition, corrected. 2 vols, with 
an appendix. (G.13512.) 

There were two continuations in French, one in 17 19 
and one in 1722, both of which were translated. 
There was, in addition, a third continuation in 
English, for which no French original has been found, 
which is sometimes attributed to Defoe. 

459. The Secret Memoirs of . . . Several Persons of Quality 

. . . from the New Atalantis. By Mrs. Manley. 
(io8i,m.2.) 
Reprints in 1720, 1730, etc. 

1710 

460. A Brief and Merry History of Great Britain, containing 

an Account of the religion, customs . . . of the people, 
written originally in Arabick by AH Mohammed Hadji 
. . . Faithfully rendered into English by A. Hillier. 
There was another edition in 1730. (Conant.) 



212 

/\.6i. A Dialogue between Dick Brazenface the Card-maker and 
Tim Meanwell the Clothier: being a dispute between 
the card-maker and the clothier fairly stated. By 
D. Brazenface (pseud.). (8i6. 111.14.(59).) 

462. Look ere you Leap: or a History of the Lives and Intrigues 

of lewd Women . . . To which is added the character 
of a good woman. Tenth edition. (12331, a. 22.) 

463. Memoirs of Europe towards the Close of the Eighth Century. 

Written by Eginhardus, Secretary and Favorite to 
Charlemagne. By Mrs. Manley. (636.d. 11,12.) 

1711 

464. An Account of the Life and Death, Parentage and Con- 

versation of Mr. J. A. [John Addison], a most notorious 
highwayman. (1076, 1.26(6).) 

465. Atalantis Major. Printed in Olrecky, the Chief City of 

the Northern Part of Atalantis Major. By D. Defoe? 
A political prose satire. 

466. Court Intrigues; or a collection of original Letters from the 

Island of New Atalantis. By the author of these 
Memoirs (Mrs. Manley). (636. d.io.) 

467. The Description of Epsom, with the humors and politicks 

of the place. In a letter to Eudoxia. (By Britto 
Batavus [J. Toland]). (1302, f.) 

468. The London-Bawd with her Character and Life, dis- 

covering the various and subtile intrigues of Lewd 
Women. Fourth edition. (Gay.) 

469. The Whole Life, character and conversation of that foolish 

creature called Granny. (1076, 1.26.(8).) 
A coarse journalistic narrative. 

1712 

470. Arabian Nights Entertainment; consisting of One Thousand 

and One Stories told by the Sultaness of the Indies to 
divert the Sultan from the Execution of a Bloody 
Vow. Translated from the French from the Arabian 
MSS. by M. Galland . . . and now done into English 
from the Edition in French. 
Advertised in 1708, but the oldest known edition is the 
second, of 1712; fourth edition 17 13. 



213 

47i« -4 Companion for the Ladies Closets: or, the life and death 
of the most excellent Lady. (4202.aaa.i.) 
The B. M. Catalogue has the note "By A. B. {i. e., 
Aphra Behn?" 

472. The Highland Visions; or, the Scots new Prophecy, etc. 

London? (114, g.36.)^ 

1713 

473. The Lover's Secretary; or, Adventures of Lindamira in 

twenty-four letters. 
Advertised in May in the T. C. but no edition earher 
than the 2d, 1715 "Revised by T. Brown," is 
known, (i26ii.df.25(i).) There was a third edi- 
tion in 1734. 

17142 

474. The Adventures of Rivella; or the history of the Author of 

the Atalantis . . . Delivered in a conversation to the 
young Chevalier D'Aumont . . . by Sir Charles Love- 
more. Done into English from the Fr. (1419, f.23.) 
The fourth edition appeared in 1724 as Mrs. Manley's 
History of Her Life and Times. 

475. Complete History of the Lives and Robberies of the most 

notorious Highwaymen. By Alexander Smith. (Lit. 
of R., i. 209.) 
Fifth edition in 17 19 and a new volume in 1720. 

476. Love Letters from Henry VIII to Anne Buleyn, with two 

from Anne Buleyn to Cardinal Wolsey, and her last to 
Henry VII I. (Cat. Old Eng. Lit., Russel Smith, 
no. 72.) 

477. The Memoirs of Gamesters. By Theophilus Lucas. (Lit. 

of R., i. 171.) 

^The first tract in this series appeared in April, 1711 under the title "The 
British Visions: or, Isaac Bickerstafif's Twelve Prophecies for the Year 1711." 
The item given above was the second and appeared in March, 1712. In Feb- 
ruary, 1713 the series was continued with "The Second-Sighted Highlander, 
etc.," and a skit under this same title appeared in 1715, but no tract for 1714 
has yet been found. There is ample evidence, both external and internal, to 
show that Defoe was responsible for the entire series. 

2 In its number for July 14, 1714 the British Mercury (a fire insurance organ) 
began printing as a serial a story entitled The Rover. This disposes of the no- 
tion that Robinson Crusoe was the first English serial. 



214 

478. The Persian and Turkish Tales, compleat, tr. formerly 
from those languages into French [or rather compiled] 
by M. Petis de la Croix (assisted by A. R. Le Sage) and 
now translated into English by Dr. King and several 
other hands. (12513, b.37.) 
Reprinted in 1722 as The Thousand and One Days by 
Mr. Phillips. 

1715 
^yg. Amours of Bosvil and Galesia. A novel. By Mrs. Barker. 
Advertised for Curll in Exilius 2d. edition. 
Reprinted in Entertaining Novels of Mrs. B., 1736. 

480. The Dean of Killerine. Translated from the French of 

Prevost. (Gay.) 
Reprinted, 1780. 

481. Exilius: or the Banished Roman. A new romance . . . 

written after the manner of Telemachus. By Mrs. 
Jane Barker of Wilsthorpe. (012611, h.25.) 
In 1736, 2d ed. in Entertaining Novels of Mrs. B (625, 
c. 45), and in 1743 another ed. of the latter. (12611, 

c.) 

482. The Family Instructor in Three Parts. I, Relating to 

Fathers and Children. II, to Masters and Servants. 

Ill, To Husbands and Wives. By Way of a Dialogue. 

By Daniel Defoe. 
Reprinted in 1715, 1720 the eighth edition, 1766 the 

sixteenth. 
In 1 718, Defoe published the second volume of the 

work and in 1727 he issued The New Family Instructor. 

483. History of the Wars of his Present Majesty Charles XII. 

. . . By a Scots Gentleman in the Swedish Service. 
By D. Defoe. A continuation appeared in 1720. 

484. Secret History of the Loves of the most Celebrated Beauties, 

Ladies of Quality and Jilts from fair Rosamond down 
to the present day. By Alexander Smith. (Lit. of 
R., i. 176.) 

1716 

485. The Generous Rivals; or, Love Triumphant. A novel. 

486. Secret Memoirs of Bar-le-duc [Court of Prince James 



215 

Edward Stuart) from the death of Queen Anne]. 
Dublin, 1716. (12314, aaa.i.) 

1717 

487.-4 Short Narrative of the Life and Death of John Rheinholdt, 
Count Patkul, a Nobleman of Livonia, etc. Faithfully 
translated . . . by L. M. The second edition. 
Advertised in April for T. Goodwin.^ 

17182 

488. The Christian Pilgrimage . . . of Salignac de la Mothe 

Fenelon. Translated by Mrs. Jane Barker. 

489. The Double Captive; or Chains upon chains^ containing 

the amorous poems and letters of a young gentleman, 
one of the Preston prisoners in Newgate. To which 
is added the execution dream, with a preface to the ladies 
and an introductory novel. (1078, 1.31.) 

1719 

490. The Dumb Philosopher; or Great Britain's Wonder. By 

D. Defoe. 

491. Familiar Letters of Love and Gallantry for several occasions 

by the wits of the last and the present age, from the 
originals, together with T. Brown's remains, being 
Letters and Dialogues not printed in his works. 2 vols. 
(99, a.20.) 
In 1724 appeared the sixth edition, corrected. 

492. The Female Deserters. A Novel. By the Author of the 

Lover's Week [that is F. Moliere]. (12330, cc.ii.) 

The Lover s Week, Hanover Tales, Milesian Tales, The 

Spanish Polecat (cf. ante, 1665 under La Picara), are 

all advertised by J. Roberts in the Female Deserters. 

493. The History of the Siege of Toulon by Donneau de Vise. 

Done into English by Mr. Boyer. (614, h.2.) 

494. The Life and Strange Surprising Adventures of Robinson 

Crusoe of York, mariner. By D. Defoe. 

1 This tract was given by Lee to Defoe, but it is really by Lord Molesworth. 

2 To this year (August) belongs "A Continuation of Letters written by a 
Turkish Spy at Paris, etc.," assigned with much plausibility by James Crossley 
to Defoe. 



216 

1719. the two parts; 1719 3d ed. of pt. i ; 1719, 4th ed., 
with map; 17 19, Farther Adventures; 1722, fourth 
edition; 1726, fifth edition; 1726, pts i and 2; 1719, 
abridged; 1726, abridged; 1730? abridged. 

495. Some Account of the Life, and Most Remarkable Actions 

of George Henry, Baron de Goertz, Privy-Counsellor 
and Chief Minister of State, to the late King of Sweden. 
This biographical tract, which seems to be clearly by 
Defoe, appeared in July, 17 19. 

1720 

496. The Chronicle of Tyburn. {Lit. of R., i. 178.) 

497. The History of the Life and Adventures of Mr. Duncan 

Campbell. By D. Defoe. (G. 13537.) 
In the same year was issued a corrected edition, and 
in 1728 the third edition appeared as The Supernatural 
Philosopher with the name of William Bond as the 
author. Mrs. Haywood and not Defoe was probably 
the author of some of the later Campbell pamphlets, 
but the latter probably wrote The Friendly Daemon 
of 1726 and he may have had a hand in the Secret 
Memoirs of Campbell of 1732. 

498. The King of Pirates, being an account of the enterprises of 

Captain Avery. In two letters from himself. By 
D. Defoe. Really published at the end of 17 19, with 
a second edition of 1720. (Lee.) (518, f.29.) 

499. The Life, Adventures, and Pyracies of the famous Captain 

Singleton, containing an account of his being set ashore 
in the island of Madagascar as also of his many ad- 
ventures and pyracies with the famous Captain Avery 
and others. By D. Defoe. (838. c.8.) 
In 1737, the second edition. 

500. Love's Academy. Containing many pleasant and delightful 

novels. (126 1 4, ee.i6.) 
"The Ladies or Gentlemen that are willing to record 
adventures in this academy, of their own or others, 
are desired to send them forthwith to the Undertaker, 
B. Lintott." 

501. The Most Lamentable and Deplorable History of the two 



217 

children in the wood. . . . To which is annexed the 
old song upon the same. (12612, d.) 
A chapbook. 

1720^ 

502. The Perfidious Brethren; or the Religious Triumvirate: 

displayed in three Ecclesiastical novels. (Bod. G. 
Pamph,, 1852.) 

503. The Power of Love in Seven Novels, viz., 7, The Fair Hypo- 

crite; II, the Physician's Stratagem; III, The Wife's 
Resentment; IV-V, The Husband's Resentment in 
two examples; VI, The Happy Fugitives, VII, The 
Perjur'd Beauty, By Mrs. Manley. (636, d.13.) 

1721 

504. The Fortunes and Misfortunes of the famous Moll Flanders, 

etc. By D. Defoe. (G. 13539.) 
In 1722, the third edition. 

505. The History of Hypatia, a most impudent school-mistress 

of Alexandria. (699, d. 14(5).) 
Not a novel but a news sheet. 

506. Ildegerte, queen of Norway; or, Heroick Love, a novel. 

Written originally in French by the author of the 
Happy Slave (rather by E. Le Noble de Tenneliere 
Baron de Saint George) and tr. into Eng. by a gentle- 
man of Oxford. 2 pts. (12511, f.15.) 
In 1721-22, second edition. 2 pts. (12510, e.20.) 
The Happy Slave was written by Bremond but there 
seems no reason for assigning Ildegerte to him. 

507. The Life of Mme. de Beaumont, a French Lady, who lived 

in a cave in Wales above fourteen years undiscovered. 
. . . Also her Lord's adventures in Muscovy. By 
Penelope Aubin. (12613, a.) 

508. Love in its Empire, illustrated in Seven Novels. By P. 

Chamberlayne. (Bodleian, authority of Gay.) 

509. The Secret History of the Prince of the Nazarenes and two 

Turks. Third edition. (Bodleian.) 
One of the grossest and least interesting of the secret 
histories. 

iQn April 13, 1720 the Daily Post advertized The Life and Strange Surpriz- 
ing Adventures of Major Alexander Rankin. 



218 

510. The Strange A dventures of the Count Vinevil and his family. 

Being an account of what happened to them whilst they 
resided at Constantinople. By P. Aubin. (12604, bb.) 

17221 

511. The British Recluse, or the Secret History of Cleomira 

supposed Dead. By Eliza Haywood. Third edition. 
There was a fourth edition printed in DubHn in 1724, 
and a fifth in London, in 1725. 

512. The Comical Pilgrim; or, the travels of a cynick philosopher 

thro' the most wicked parts of the world, namely England, 
Wales, etc. Attributed, but in all probability erro- 
neously, to D. Defoe. (G. 13540.) 
It was first published in November, 1722 and speedily 
reached a fourth edition. 

513. Due Preparations for the Plague. By D. Defoe. 

514. The False Duchess, translated from the Fre?ich. 

In Sel. Col. Nov., vol. vi. 

515. The History and Remarkable Life of the truly Honourable 

Colonel Jacque. By D. Defoe.^ 
Other editions in 1723, 1724, etc. 

516. The History of Genghizcan [by Petits de la Croix]. Trans- 

lated by Penelope Aubin. (147, a. 10.) 

517. The History of Leonora Cespedes and Coimt de Belflor. 

Written originally in French. In Sel. Col. Nov., vol. 
iii, and also in a Col. of Nov., ed. by Mrs. E. Grif- 
fiths, 1777. 

518. The Innocent Adultery tr. from the French [of Scarron?]. 

In Sel. Col. Nov., vol. iv. 

519. A Journal of the Plague Year. By Daniel Defoe. 

Often reprinted. 

520. The Life and Actions of Lewis Dominique Cartouche. 

A translation attibuted to D. Defoe, but apparently 
with little reason. 

1 The Flying Post for July 28, 1722 advertized "The Life and Surprizing 
Adventures of Don Juliana de Tuzz, who was Educated by a Roe, and lived 
Forty Five Years in the Island of Malpa, an Uninhabited Island in the East 
Indies. Translated from the Portuguese." This curiosity of literature could 
be had from Thomas Warner for one shilling, but it has escaped recent search. 

2 Some doubt has been thrown on the existence of any copy bearing the 
date 1722. 



219 

521. The Noble Slaves; or the Lives and Advejihires of two lords 

and two ladies who were ship-wrecked. By Penelope 
Aubin. (12511.C.C.) 
Another edition was issued in Dublin in 1730? and in 
1777 it was included by Mrs. Griffiths in Sel. Col. 
of Nov. 

522. Religious Courtship. By D. Defoe. 

Reprinted in 1729, 1735 4th ed., 1737, 1750, 1762, 

1770, 1793- 

523. Select Collection of Novels. — See Collections. 

524. The Travels and Adventures of three Princes of Sarendip. 

Interspersed with eight delightful and entertaining 
novels tra?islated from the Persian [or rather the Italian 
of Chr. Armento] i?ito French and thence into English. 
(Conant.) 

1723 

525. Comical and Tragical History of the Lives and Adventures 

of the most noted Bayliffs. By Alex. Smith. (12314. 

f. 7.) 
Third edition 1783. 

526. The Highland Rogue; or the memorable actions of the cele- 

brated R. MacGregor, commonly called Rob Roy. D. 
Defoe. (10825, c.) 

527. The History of John of Bourbon, Prince of Carency. 

Containing a variety of entertaining novels, written 
in French. Translated into English. 

The second edition. (12511, f. 17.) 

The novels are ten in number viz.: — The Surprize or 
the Generous Unknown; The Mutual Mistake or 
Unhappy Discovery; The Secret Rival or Deceitful 
Friend; The Perfidious Lady or the Fatal Resent- 
ment; The Unfortunate Lover; The Female Captives; 
The Distressed Lovers; The Revengeful Rival; The 
Happy Meeting, or, Constant Love Rewarded. 

As the titles indicate these are all stories of the cloak 
and sword variety in which the changes are rung on 
crossed loves, lovelorn damsels, gentlemen pirates, 
kidnappings, the miseries of slavery, amorous Moors, 
and the like. 



220 

528. Idalia; or, The Unfortunate Mistress. A novel. By Mrs. 

Haywood. (12614, d.i.) 
Reprinted with the addition of a third part in her 
collected works and translated into French in 1770. 
(Gay.) 

529. An Impartial History of the Life and Actions of Peter 

Alexowitz, the present Czar of Muscovy, etc. Attrib- 
buted to D. Defoe. 

530. The Life and adventures of Pedrillo del Campo intermixed 

with several entertaining and delightful novels. Trans- 
lated into English by Ralph Brookes. (12490, aaa.12.) 

531. The Lives and Amours of the Empresses, consorts to the 

first twelve Caesars of Rome. . . . Translated hy G. 
James [from the French of Jacques Roergas de Ser- 
viez]. (10605, c.io.) 

532. Love in Excess, or The Fatal Enquiry; a Novel in Three 

Parts. By Eliza Haywood. 
There was a sixth edition in 1725. 

533. The Loves of Osmin and Doraxa [from Guzman de Al- 

farache] with the Novelas of Cervantes. 
Advertised in Sel. Col. Nov. 

534. The Patchwork Screen for the Ladies; or, Love and Virtue 

recommended in a collection of instructive novels. 
By Mrs. Jane Barker. (1079, d.13.) 

535. The Unhappy Loves of Herod and Mariamne introductory 

to Mr. Fenton's new tragedy. (641, e. 28.(1).) 

1724 

536. The Arragonian Queen, a secret history. (Pickering & 

Chatto Cat. Pt. M.) 

537. Female Grievances Debated. Fourth edition. (8415, b. 

15.) 

538. The Fortunate Mistress; or a History of the Life of Mile. 

de Beleau afterwards calVd the Countess of Wintsel- 
sheim. . . . Being the Person known by the name of 
Lady Roxana. By D. Defoe. (G. 13737.) 

Reissued in 1740 and often thereafter. 

Revised by Noble in 1775. 

539. The History of the Remarkable Life of John Sheppard. 

By D. Defoe. 



221 

Issued three times In that year. Lee also assigns to 
Defoe A Narrative of all the Robberies, Escapes, etc. 
of John Sheppard, which went through 7 editions in 
November and December, 1724. 

540. The Injured Husband, or the Mistaken Resentment. By 

Mrs. Haywood. Dublin. (D.N.B.) 

541. Lasselia; or, the Self -abandoned. A novel. By Mrs. 

Haywood. Second edition. (12613, c.(i).) 

542. Letters of a Lady of Quality to a Chevalier. By Eliza 

Haywood. {D. N. B.) 

543. A New Voyage Round the World, by a. course never sailed 

before undertaken by some mercha7its who afterward 
proposed the setting up of an East Indian Company 
in Flanders. By D. Defoe. 2 pts. (838, c.4.) 

544. The Rash Resolve; or, the untimely discovery. A novel. 

By Eliza Haywood. Second edition. (12613, c.(2).) 

545. The Reformed Coquette. A Novel. By Mrs. Mary Davys. 

(12604, aaa.) 
Dublin, 1735, a second edition. 

1725' 

546. An Account of the Conduct . . . of the late J. Gow alias 

Smith, captain of the late pirates executed. . . . By 
D. Defoe. (518, c.4.) 

547. The Amorous Bugbears; or, The humours of a masquerade 

Intended as a supplement to the London-Spy. (11644, 
g.36(i).) 

548. Bajazet; or the Imprudent Favorite, in Five Novels trans- 

lated from the French of J. Regnauld de Segrais 
(Conant.) 

549. Bath- Intrigues; in a Collection of Original Letters to a 

Friend in London. [Signed J. B. i. e. Mrs. Manley?] 
(1080, i.42.) 

550. Chinese tales, or the Wonderful Adventures of the Mandarin 

Fum-Hoam translated from the French [of T. S. 
Guenlette]. 

iTo this year belongs Mrs. Haywood's translation of La Belle As semhlie; 
a curious collection of some remarkable incidents which happened to Persons of 
Quality from the French of Mme. de Gomez. (12512. c.) There were other 
editions in 1728 and 1736-35. 



222 

Another translation as Mogul tales, 1736, second edition, 
1743. (Conant.) 

551. The Fatal Secret. By Eliza Haywood. Third edition. 

(D. N. B.) 

552. Fantomima, or Love in a Maze. By Eliza Haywood. 

{D. N. B.) 

553. The Lady's Philosopher^ s Stone: or, the Caprices of Love 

and Destiny. An historical Novel. Written in French 
by M. VAhhe de Costero and noiv translated into 
English. (Pickering and Chatto, Cat. H.) 

554. Love upon Tick: or, implicit gallantry exemplified. Third 

edition with additions. (1132 c.44.) 

555. Mary Stuart, Queen of Scots, being the Secret History of 

her Life and the real causes of her misfortunes. 
Translated from the French [by Eliza Haywood]. 
A second edition appeared in 1726, (Col. M1.M366.) 

556. The Matchless Rogue, or an account of the contrivances, 

cheats, stratagems and amours of T. M. to the hour of 
his exit at Newgate. (141 7, e.9.) 

557. Memoirs of the Baron de Brosse . . . containing an account 

of his Amours. (Gay.) 

558. Memoirs of a certain Isla^id adjacent to the Kingdom of 

Utopia. By Mrs. Haywood. 2 vols. (12613 g.) 

559. Mrs. Manley's History of her Life and Times. See Life 

of Rivella, no. 475, 1714. 

560. Secret Histories, Novels, and Poems written by Mrs. 

Eliza Haywood. Second edition. 4 vols. (12612, 

ee.) 
This seems to be a reprint of a 1724 edition. There 

was also a shorter collection published in 2 vols. 

in 1725. The longer edition was reprinted in 1732. 
The following tales are included: 

Fantomima; or Love in a Maze. Being a Secret 
History of an Amour between two Persons of 
Condition. 

The British Recluse. 

Idalia — In three parts. 

The Injured Husband, or the Mistaken Resentment. 

Lasselia, or the Self -abandoned. 



223 

The Rash Resolve. 

The Fatal Secret: or Constancy in Distress. 

561. .4 Stage-coach Journey to Exeter, describing the humours 

of the road, with the characters of the Company. In 
eight Letters to a Friend. By Mrs. Manley. [See 
no. 405, 1696.] 

562. The Surprise, By Mrs. Haywood. (D.N.B.) 

563. The Tea Table; or, a Conversation between some persons 

of both sexes at a Ladies Visiting Day. By Mrs. 
Haywood. (635.f.ii(5).) 

564. The True, Genuine and Perfect Account of the Life and 

Actions of Jonathan Wild. By D. Defoe.^ 
Lee gives these editions in June, 1725. 

565. The Unequal Conflict; or. Nature triumphant. A Novel. 

By Mrs. Eliza Haywood. 
Advertised by Crokett in The Whimsical Lovers. 

566. The Whimsical Lovers; or, Cupid in disguise. A Novel. 

By Mrs. Symmons. (12614, £f.) 

17262 

567. The Distressed Orphan, or Love in a Mad-house. Written 

by Herself. The third edition. (12611, f.(i4).) 
Reprinted about 18 10 as Love in a Madhouse; or the 
History of Eliza Hartley, the Distressed Orphan. 

1 Attention should be called to three books often ascribed to Defoe but 
rejected by late bibliographers, to wit, "The Four Years Voyages of Capt. 
George Roberts" (1726), "The Military Memoirs of Capt. George Carleton" 
(1728), and "Madagascar: or, Robert Drury's Journal" (1729). The second 
of these has been assigned by Colonel Arthur Parnell to Dean Swift, but there 
is strong internal evidence that connects Defoe, at least in the capacity of 
editor, with all three books. Carleton and Drury certainly, and perhaps 
Roberts, were real men who may have furnished the materials out of which 
Defoe constructed the accounts of their adventures. 

2 Attention should be called to the popular and romantic "Voyages and Ad- 
ventures of Captain Robert Boyle" of 1726, which has been assigned to Defoe, 
but which seems to be clearly by William Rufus Chetwood, for whose other 
work in fiction, practically all in the year 1740-41, see the article in D. N. B. 
Another story erroneously attributed to Defoe is "The History of Antonoils. 
Containing a Relation how that Young Nobleman was accidentally left alone, in 
his Infancy, upon a desolate Island; where he lived nineteen years, remote from 
all Humane Society," etc., 1736. 



224 

568. The Entertaining Novels of Mrs. Jane Barker. 

Advertised by Bettesworth as the second edition. 
The earliest known edition is that of 1736 which was 

reprinted in 1743. 
The collection includes. 

Exilius. 

Clelia and Marcellus; or the Constant Lovers. 

The Reward of Virtue; or the Adventures of Claren- 
thia and Lysander. 

The Lucky Escape; or the Fate of Ismenius. 

Clodius and Sci plana; or the Beautiful Captive. 

Piso; or the Lewd Courtier. 

The Happy Recluse; or, the Charms of Liberty. 

The Fair Widow or False Friend. 

The Amours of Bosvil and Galesia. 

569. The Life and Adventures of the Lady Lucy, daughter to an 

Irish Lord. By Mrs. Penelope Aubin. (635a.4.(2). 

570. The Lining of the Patch-work Screen. By Mrs. Jane 

Barker. (Bodleian.) 

571. Memoirs of the Life and Times of the Famous Jonathan 

Wilde. By Capt. Alexander Smith. {Lit. of R., 
p. I55-) (615, a.28.) 

572. The Mercenary Lover; or, The Unfortunate Heiresses, Being 

a true secret history of a City Amour, in a certain island 
adjacent to the kingdom of Utopia. Written by the 
author of Memoirs of the said Island. (E. Haywood). 
"Translated into English." (12611, i.i6.) 
In 1728 reprinted with the Padlock third ed. (123 16 
bbb.38(b).) 

573. Travails into Several Remote Nations of the World. By 

Lemuel Gulliver first Surgeon and then Captain of sev- 
eral Ships. Two vols, in four pts. [By Jonathan 
Swift.] (838, C.6.) 
There were two other editions in 1726, as well as 
L. G.'s travels, . . . compendiously methodized, with 
a key, observations etc. In 1727 this was reprinted 



225 

and two other editions of the work as well, and it 
continued to be reprinted frequently.^ 

1727 

574. The Illustrious French Lovers ; being the true histories of 

the amours of several French persons of quality .... 
Written originally in French and translated into 
English by Mrs. Penelope Aubin. 2 vols. (12511, 
bb.i8.) 
In 1739, a second edition was published .^ 

575. The Life of Madame de Villesache. Written by a Lady, 

who was an eye-witness of the greatest part of her ad- 
ventures, and faithfully translated from her manuscript 
[or rather written] by Mrs. E. H[aywood]. (12331. 
bbb.42(2).) 

576. Philidore and Pacentia. By Mrs. Haywood. D. N. B. 

577. The Poetical Works of Philip, late duke of Wharton. . . . 

Also two interesting novels by the celebrated Mrs. A. 
Plantin . . . with a genuine account of the life of that 
nobleman (11607, bbb.) 
In 1 73 1, reprinted with additions. It contains two 
novels by Mrs. Plantin, The Ungrateful and Love led 
Astray. 

578. The Secret History of the Present Intrigues of the court of 

Caramania. By Mrs. Haywood. 

1 The Daily Journal for Feb. 6, 1731 advertised for the next Wednesday, 
two volumes of the "Travels of Mr. John Gulliver, son to Capt. Lemuel Gul- 
liver, translated from the French by Mr. Lockman." In 1728 (Nov. 16) the 
Country Journal or the Craftsman advertised as lately published "A Trip to the 
Moon" by Murdoch McDermot, printed at Dublin and reprinted in London, with 
what seems to have been an obscene dedication to Captain Lemuel Gulliver- 
This item has been advertised as early as Feb. 22, 1728, of. the Whitehall Even- 
ing Post. 

2 An undated edition of Mrs. Aubin's works in the Col. Libr. contains: 
The Noble Slaves; The Life and Adventures of Lucinda; Conjugal Duty Rewarded 
or the Rake Reformed; Life and Amorous Adventures of Lucinda; Fortune favors 
the Bold; Count de Vinevil; Lady Lucy; Life and Adventures of young Coun. 
Albertus. . . . Son of Count L. A. by Lady Lucy; Life of Charlotte du Pont, 
Madame de Beautnont. Five of these, 2, 3, 4, 5, 6, I have not found else- 
where. 

16 



226 

1728 
579' T^^^ Disguised Prince; or the beautiful Parisian. A true 
history tr. from the French (or rather written by E. 
Haywood). (12511, h.5.). 

580. Female Excellency; or, the Ladies Glory. Illustrated in 

the worthy lives and memorable actions of . . . 
Deborah, the valiant Judith, Queen Esther, . . . 
Susanna . . . Lucretia, Vodicia, Mariamme . . . Clo- 
tilda Andegona. By Richard Burton (i. e., Nathaniel 
Crouch). Third edition. (10604, a.) 

581. Friendship in Death in twenty Letters from the Dead to the 

Living. By Mrs. Elizabeth Rowe.^ (C0I.824.R79. 
L.) 

582. The History of King Appius. . . . By a gentleman who 

served in the Persian armies. (P. F. Godart de Beau- 
champ.) Translated from the French. 

London and Dublin. (12330 aaa.13.) 

A story with disguised personages to which a key was 
published in 1764. 

583. The Illegal Lovers; a true secret history. Being an amour 

between a person of condition and his sister. Written 
by one who did reside in the family. (1079, i.i2(i).) 
The sister turns out to be an unfortunate orphan 
adopted by the hero's family. The story is the same 
as that in the Letters. See nos. 298, 1682; 394, 
1693; 627, 1734. 

584. The Irish Artifice; or the History of Clarinda, a novel. 

By Mrs. Haywood. In the Female Duncaid. 
(F.857(2).) 

585. Life and Amours of the Count de Tourenne. (Gay.) 

586. Psyche. 

587. The Royal Shepherdess. 

588. Tarsus and Zelie. 

589. Xenophon's Ephesian History, or Love Adventures, of 

Abrocomas and Anthia in five books. 
All advertised by J. Love in the 1728 edition of the 
Mercenary Lover. 

1 Advertised in the Whitehall Evening Post for Jan. 16, 1727-8. 



227 



1729 
590' Adventures of Abdalla, Son of Hanif, sent by the Sultan of 
the Indies to make a Discovery of the Island of Borico 
. . . translated into French from an Arabick manu- 
script . . . by Mr. de Sandisson . . . done into 
English by William Hatchett. 
A second edition was issued in 1730. 

591. The Fair Hebrew, or a True but Secret History of Two 

Jewish Ladies who lately resided in London. By 

Mrs. Haywood. 
Gay further states that this story was reprinted in the 

Reader, 1880. 
A story with a somewhat similar title, La Belle Juive, 

was included in a collection of current novels called 

Histoires tragiques et Galantes published at Paris, 1 731 . 

592. Letters, Moral and Entertaining in Prose and Verse. 

Part I. By Mrs. Elizabeth Rowe. Part II was 
added in 1731 and Part III in 1733. 

593. The Life of the Countess de Gondez tr. by Penelope Aubin. 

(12511, aaaa.17.) 

594. The Life and Intrigues of the late celebrated Mrs. Mary 

Parrimore, &'c. 

595. Persecuted Virtue, or the Cruel Lover. By Mrs. Eliza 

Haywood. {D. N. B. 1730.) 

1730 

596. The Amours of Philaris and Olinda (dedication signed 

S. L.). (8028 bbb.i6.) 
A belated and vulgar Arcadian romance. 

597. The Brother; or, Treachery punished. Interspersed with 

the Adventures of Don Alvare, . . . Don Lorenzo, 
Cupid and Bacchus, a dramatic entertainment, and the 
adventures of Mariana, sister to Don Alvarez. Written 
by a Person of Quality. (1459, b.30.) 
A series of cloak and sword novels. 

598. Love-Letters on all occasions lately passed between persons 

of distinction. By Mrs. Haywood. (1016 f. 8.) 

599. The Northern Worthies; or the lives of Peter the Great, 

father of his country . . . and of Catherine the late 



228 

Czarina. By Fontenelle tr. by J. Price. 2 pts. 
second edition. (6ii, a.io.) 

600. Persian Anecdotes; or Secret Memoirs of the Court of 

Persia. Written originally in French . . . by the 
celebrated Madame de Gomez. Translated by Paul 
Chamberlain. (Conant.) 

601. Persian Letters by C. de Secondat, Baron de Montesquieu 

translated by Mr. Ozell. 
There was a third edition in 1731 and a sixth in Edin- 
burgh in 1773. 

602. The Ramble; or a View of several amorous and diverting 

intrigues . . . between some ladies of Drury Lane and 
two certain Rakes. (i079.ii26(3).) 
Chandler, Lit. of R., i. 150, assigns this to G. Fidge, 1651. 

603. The Voyages of Cyrus. Translated from the French of 

of Chevalier Ramsay. [Paris, 1727.] (Dunlop.) 

1731 

604. The Amours of the Count de Soissons . . . in a . , . 

relation of the gallantries of persons of distinction , . . 
during the ministry of Cardinal Richelieu . . . Trans- 
lated from the French . . . by J. Seguin. The second 
edition. (1801, d.25.) 
Cf. Modern Novels, 1692. 

605. The Constant Lovers; being an entertaining history of the 

amours and adventures of Solenus and Perrigonia, 
Alexis and Sylvia. By John Littleton Costeker. 
(12613,3.) 

606. The History of Executions. Edition by Applebee. 

Reprinted in 1732 with the addition of The Lives of 
the most remarkable criminals. (Lit. of R., i. 178.) 
Other editions in 1728, 1736-35. 

607. The Life of Mahomet. Translated from the French 

(10605, b.) 
Reprinted in 1752. 

608. Love a la Mode; or the amours of Florella and Phillis; 

being the memoir of two celebrated ladies under those 
names. (12614 g.) 

609. The Memoirs of Miss Cadier and her Father. (Gay.) 



229 

6io. Milk for Babes, Meat for Strong Men. . . . Being a 
Comical, Sarcastical . . . Account of a late election 
in Bagdad, for Caitiff of that City. By . . . Alexan- 
der the Copper Smith. Second edition. (Conant.) 

6ii. The Progress of a Rake; showing the various Intrigues he 
met with. (12330 000.34(6).) 

612. The Scarborough Miscellany. An original collection of 

poems, odes, tales. None of which ever appeared in 
print before. By several hands. (12330, k.i2(3).) 
In 1734 a second edition appeared. 

613. Two Journals; the first kept by seven sailors in the island 

of St. Maurice in Greenland & Done out of Low Dutch. 
In a Col. of Voyages and Travels. (566, k.7.) 

614. The Unhappy Lovers; or, the History of James Welston, 

Gent . . . together with his voyages and travels. 
(Bound with the Mercenary Lover.) 

615. Winter Evening Tales. See Collections. 

1732 

616. An Account of Cochin-China. In two Parts. Trans- 

lated from the Italian of Chris. Borro, by A. and J. 
Churchill. In a Col. of Voyages and Travels (566 
K.7.) 

617. The Life of Sethos. Taken from private memoirs of the 

Ancient Egyptians. Translated from a Greek Manu- 
script into French [or rather an original work by J. 
Terrasson] and now faithfully done into English by 
Mr. Lediar. (289. a. 76.) 

1733 

618. The Adventures of Prince Jakaya; or. The triumph of love 

over ambition. Being secret memoirs of the Ottoman 
court. Translated from the original French [of Adrian 
de La Vieuville D'Orville]. 2vols. (12491C.33.) 
Cf. the Annals of Love, no. 20. 

619. The Desperadoes; an heroick history. Tr. from the Italian 

. . . of Giovanni Ambrogio Marini. (12477, b.17.) 

620. Rosalinda; a Novel. Containing the histories of Rosalinda 

and Lealdus, Dorisba and Leander, Emilia and Edward, 



230 

Adelais, Daughter of Otho II, and Alerames, Duke of 
Saxony. With a most remarkable story of Edmund, 
the gallant Earl of Salisbury . . . By a man of Quality. 
Tr. from the French [of Gaspard Moise Fontanieu]. 
(12512, dd.40.) 
A romance somewhat between Telemachus and the 
heroic romances. 

621. The Secret History of Mama Oello, Princess royal of Peru 

{i. e.. Princess Anne daughter of George II). A 
new court novel. With a key. (i4i8d.40.) 

1734 

622. U Entretein des Beaux Esprits. Translated from the 

French of Mme. de Gomez by Mrs. Haywood. 
{D.N.B.) 

623. General History of the Lives and Adventures of the most 

noted highwaymen. By Captain Charles Johnson. 
(L. of R.) 

624. General History of the Robberies and murders of the most 

famous Pyrates. By Ch. Johnson [before 1734]. 

625. The Life and Adventures of Mr. Cleveland, natural son of 

Oliver Cromwell, etc. [A romance tr. from the French 
entitled Le Philosophe anglais by Antoine Francois 
Prevost d'Exiles.] 4 vols. (1251623.)^ 
In 1736, another edition, Dublin. 

626. Love in all its Shapes, Illustrated by the various practices 

of the Jesuits with Ladies of Quality. (Gay.) 

627. Love-Letters between a nobleman and his sister . . . viz. 

E. . . . (Forde) Lord G . . . {rey) of Werk and the 
Lady Henrietta B(erkeley). Second edition. (11626 
a.24.) Cf. no. 298, 1682; 393, 1693; 583, 1728. 

628. The Pleasant Companion; or. Wit in all shapes; being a 

choice collection of novels, tales. (Bod. Douce N. 34.) 
The novels are: 

Love's Artifice, or the Negro. 

The Despairing Prodigal. 

The Labyrinth, or the Fortunate Thief [from Painter]. 

^This book was announced in the Daily Journal, Mar. lo, 1731 as in press 
and in tiie London Evening Post for April 10, 1731 as published that day. 



231 

The Mistake. 

The Midnight Ramble [from Cervantes]. 

629. The Unnatural Mother; or, Innocent Love persecuted. 

Being the history of the . . . fatal consequences that 
attended the . . . passion of a gentleman . . in the 
Law and a young Lady, (iiyysbbb.) 

1735 

630. The English Nobleman; or the Peasant of Quality. A true 

History. Westminster. (i25iidf.i2,) 

631. The Fortunate and Unfortunate Lovers [Dorastus and 

Fawnia; Hero and Leander]. By H. Stanhope. 
(12611, d.22.) 
Cf. no. 308, 1683. 

632. Letters from a Persian in England to his Friend at Ispahan. 

By George Lyttleton, First Baron. 
There was a fifth edition in 1735. 

633. Memoirs of Gaudentio de Lucca. (Gay.) 

634. The Most Entertaining History of Hy polite and Amynte. 

Advertised in the Fortunate Lovers. 

635. The Skimmer, or the History of Tanzai and Near dame 

{a Japanese tale) translated from the French of [C. P. 
de Jolyot de Crebillon]. 
There was another edition in 1778. (Conant.) 

636. The Tragical History of the Chevalier du Vaudray and the 

Countess Vergi. Translated by Mr. Morgan. 
Advertised in The Fortunate Lovers. 

637. A Trip through the Town. Containing Observations on the 

Humours and Manners of the Age. Fourth edition. 

1736 

638. The Adventures of Evaii, Princess of Ijaveo. By Elizabeth 

Haywood. (Bodleian.) 
Reprinted in 1741 as The Unfortunate Princess. 

639. Celenia; or the hystory of Heyempsal, king of Numidia 

[Dedication signed Zelis the Persian]. 2 vols. 

(I26l2.d.) 

Reedited in 1742. 

640. Mogul Tales . . . Now first translated into Eng. with a 



232 

prefatory discourse on the usefulness of romances. 
2 vols. (1076, i.43.) 

641. Memoirs and History of Prince Titi. Done from the 

French [of H. Cordonnier de Saint-Hyacinthe] by 
a Person of Quality. (12511CC.2.) 

642. Le Paysan Parvenue. Translated from the French of 

Marivaux. (Cited by Miss C. L. Thompson in her 
Samuel Richardson.) 

643. La Vie de Marianne. Translated from the French of 

Marivaux. (Cited by Miss C. L. Thompson in 
her Samuel Richardson.) 

1737 

644. The Bachelor of Salamanca; or, Memoirs of Don Cherubim 

de la Ronde. In jpts Translated [from the 

French of Alain Rene Le Sage)] by Mr. Lockman. 
2 vols. (12510b. 29.) 

645. The Female Page: a Genuine and Interesting History 

Relating to some Persons of Distinction. By Elizabeth 
Boyd. (oi26iig.i7.) 
It bears the running title "The Happy Unfortunate." 

1738 

646. The Life and Heroick Actions of the Eighth Champion of 

Christendom; with a particular account of his combat 
with the man in the moon, etc. (Professes to be 
extracted from the work of R. Johnson.) By J. 
Gurthrie. ('I2603.aa.) 
This is a satire. 

1739 

647. Chinese Letters; being a Philosophical, Historical, and 

Critical Correspondence between a Chinese Traveler 
at Paris and his Countrymen in China, Muscovy, 
Persia and Japan. Translated . . . into [or rather 
written in] French by the Marquis d'Argenson; and 
now done into English. Reissued in 174 1. (Conant.) 

648. The Unfortunate Dutchess; or. The Lucky Gamester; a 

novel founded on a true story. (Bod. G. Pamph., 
1310 (12).) 



233 



1740 
649- The City Jilt; or, the Ailderman) (J. Barber?) turned 
Beau. (8227bb.) 

650. The Cruel Mistress; being the genuine trial of E. B. and her 

daughter for the murder of Jane Buttersworth their 
servantmaid, etc. Second edition. (5i8f.69.) 

651. The Life and Adventures of Mrs. C. Davies commonly 

called Mother Ross. By R. Burton (or D. Defoe 
as some authorities, without good reason, think). 
(io826ee.i6.) 
In 1 74 1 reprinted. 

652. Pamela; or, Virtue Rewarded. In a series of Familiar 

Letters from a beautiful young damsel to her Parents, 
By Samuel Richardson. 

653. The Whimsical Apothecary; a secret history. 

Advertised in The City Jilt and probably identical with 
the Gentleman Apothecary, no. 202, 1670. 
The following novels are mentioned by Langbaine but 
I have been unable to find out anything further about 
them: 

1. The English Adventurers furnished the source for 

Shirley's The Doubtful Heir. 

2. The English Lovers, by John Dancer, written between 

1660 and 1675, comprised numerous novels which 
furnished plots for plays. 

3. Elvira furnished the plot of Lord Digby's tragi- 

comedy Elvira about 1667. 

4. The German Princess, a Novel, was the source for 

A Witty Combat, in 1663. 

5. The Overthrow of Capts. Ward and Daneke was the 

source for the play A Christian turn'd Turk in 
1609. 

6. The Wall-Flower, by Dr. Baily, furnished George 

Powell with the plot for The Treacherous Brother, 
1690. 



234 



AN ALPHABETICAL LIST OF THE MORE IMPORTANT 

REPRINTS 

1. Amadis ofGaule. Bk. I was translated by A, Munday in 

1590, Bk. II in 1595, and Bks. Ill and IV some time before 
1 61 8. Early in 1619 all four books were reprinted by 
Nich. Oakes. 

2. Arhasto, King of Denmark. By Robert Greene, in 1626. 

3. Arnalte and Lucetida. [By Hernandez de San Piedro in 

1491, tr, in 1575.] 1608 and 1660. 

4. Bevis of Southampton in 1638-39, 1690, and advertised in 

the T. C. for 1692. 

5. Ciceronis Amor, Tullies Love. By Robert Greene, in 1605, 

161 1, 1616, 1628, 1639, described as the tenth edition. 

6. The Countesse of Pembroke's A rcadia. By Sir Philip Sidney. 

[1590] in 1605, 1613, 1621, with Alexander's third book, 
1623, 1627, with Beling's sixth book, 1629, with additions, 
1633, 1654-55 with add. and biography of Sidney, 1662, 
1674, 1725 modernized by Mrs. Stanley "With the poems 
omitted to please the subscribers." 

In 1 701, it was condensed as The Famous History of 
Heroic Acts: or, The Honour of Chivalry. Being a7i 
abstract of Pembroke' s Arcadia. 
[By I. N.] 

7. Daphnis and Chloe of Longus [1598]. Retranslated in 1657, 

and again, by James Craggs, in 1733. 

8. An Ethiopican Historic: Fyrst Written in Greeke by Heliodorus 

and translated into English by T{homas) U {under down e). 
Entered for Thomas Harris, Sept. 6, 1602, and November 
21, for Cotton, but his edition bears the date 1606. In 
1622, another edition; Heliodorus his Ethiopican Historic 
done out of Greeke [by Underdowne] and compared [by 
the editor V. Barrett] with other translations in diverse 
languages. 1638, The Famous Historic of Heliodorus. 
Amplified, augmented, and delivered paraphrastically in 
verse by W. Lisle. 1687, The Triumphs of Love and Con- 
stancy: a Romance, containing the Heroick Amours of 
Theagenes and Chariclea. In ten books. The first by a 
Person of Quality, the last five by N. Tate. Second edition, 



235 

The first edition is presumably that advertised in the 
T.C., 1684, under the title The Triumphs of Love and Con- 
stancy. 
Other references on the S.R. are as follows: 

1619, Feb. 16, transferred to Snodham; 1619, July 8, 
transferred to Lawrence Haies; 1625, Dec. 19, transferred 
to Aide; 1638, Sept. 4, transferred to Haviland Wright. 
The date of the original edition of Underdowne's 
translation is uncertain. In 1569, Francis Coldock was 
licensed to publish "The ende of the Xth. booke of Heli- 
odorus Ethiopian Historye" but there is no edition 
bearing that date. Yet Underdowne in the preface to 
the 1587 edition mentions it "as not long since." Bliss> 
in his edition of Anthony a Wood states positively that 
the earliest edition is 1577, and that the same is repre- 
sented by an undated copy in the Bodleian Library. 
9. Euphues; the Anatomy of Wyt [1579] and Euphues and his 
England [1581]. By John Lyly. In 1606, 1607, 1609?, 
1613, 1617, 1623, 1630, 1636, 1 7 16 "the seventeenth edition 
much altered." 

10. The Golden A sseoi Lucius Apuleius. Entered for Charles 
Knight June 26, 1600. This is presumbaly a reprint of 
the translation by William Adiington which first appeared 
in 1566 and was reprinted in 1571 and 1596. References 
occur in lists of transfers in S. R. for May, 1629, March 8, 
1635-6, and July 12, 1639. On July 12, 1637, a trans- 
lation by "W. S." was entered for John Thomas. Huth 
mentions an edition of 1641 but does not specify the 
translation. 

11. Griselda, i. e., The History of the Noble Marquis of Salus 
and Patient Grissel, 161 9, 1630?, 1660, and 1703. 

12. Guy, Earl of Warwick, in 1640, 1681, 1706, 1711, 1733. 

13. Lazarillo de Tormes [The first part was originally translated 

in 1568.] 1619?, 1638?, 1653, 1655, 1670, 1672, 1677, 
1708, 1726. 

14. Menaphon[i^^C)\. By Robert Greene. 1607?, 1610, 1616. 

15. Ornatus and Artesia [1598]. By Emanuel Ford. 1607, 

1634, 1654 the fourth, 1669, 1683. 



236 

i6. Palmeryn of England. [1588] 1602, 1609, 1616, 1617?, 
1639 with Florian, 1664. 

17. Palmeryn d'Oliva. [1588], 1615, 1637 and many undated 

editions. 

18. Pandosto, or Dorastus and Fawnia [1588], By Robert 
Greene. 1614, 1648, 1677, 1688, 1696 moralized and bound 
with Josephus, 1703, 1750?. 

19. PamwM5 [1598]. By Emanuel Ford. 1608, 1609, 1615, 

1630, 1633, 1636, 1649 the thirteenth, 1657, 1663, 1664, 
1665, 1668, 1671, 1677, 1680?, 1684, 1690, 1696, 1699, 
1701, 1704, 1713. 

20. Philomela [1592]. By Robert Greene. 1615 and 1631. 

21. A Quip for an Upstart Courtier. By R. Greene. 1620 

and 1635. 

22. Rosalynde, Euphues Golden Legacie [1590]. By Thos. 

Lodge. 1607, 1609, 1612, 1623, 1634. 

23. Robin Hood. The editions are seldom dated but there 
was one in 1678, and others in 1700? and 1712. 

24. The Destruction of Troy [as translated by Caxton]. 1607 
the fifth edition, others in 1617, 1663, 1670, 1676, 1680, 
1684, 1702, 1708, 1738 at DubHn described as the eigh- 
tenth. 

25. Utopia. By Sir Thomas More. The Latin version was 
printed in 1516 and reprinted in England in 1663, 
1750, 1 77 1. An English translation appeared in 1551, 
by Robinson, which was reprinted in 1556, 1597, 1624, 
1639. Burnet's version was printed by Chiswell in 1684 
and reprinted in DubHn in 1737. 

26. Valentine and Orson [1586] or earlier. 1637, 1649?, 1673?, 
1680?, 1690?, 1697?, 1700?, 1710, 1724, 1736 described 
as the sixteenth, 1741. 

27. Vienna, Noe Art can cure this Heart [1485]. 1620, 1638?, 
1650. 

28. The Voyage of the Wandering Knight [1572]. By Jean Car- 
tigny [tr. 1581], 1607, 1615?, 1620, 1650, 1661, 1670, 
1687 as The Conviction of Worldly Vanity. 



237 



A CHRONOLOGICAL LIST OF THE PRINCIPAL COL- 
LECTIONS OF NOVELS WITH THE NOVELS 
CONTAINED IN EACH 

I. The Annals of Love, containing Select Histories of the Amours 
of Divers Princes Courts Pleasantly Related. 

For J. Starkey, London, 1672. 

1. Countess of Castile elopes with a Pilgrim. 

2. Alfreda of England. 

3. Don Garcia. The revenge taken by the husband of 
the Countess of Castile. 

4. The Duke and the Duchess of Modena. 

This couple, passionately loved by the Empress 
and Emperor respectively, are loyal to each other 
and while talking over their plight in a garden are 
overheard by the emperor and practically compelled 
to commit suicide. 

5. Three Princesses of Castile. 

Urasia, wife of Raymond, is unloved by him. 
Her sister Elvira, exasperated by her husband, 
yields to Raymond. The discovery of her crime 
leads to the death of all concerned. 

Theresa, equally disloyal, manages her affairs with 
such discretion as to avoid detection. 

6. Agnes de Castro. 

7. Constance the fair Nun marries the son of her lover, 
the Emperor Frederick. 

8. James King of Aragon. His revenge on a faithless 
wife. 

9. The Fraticelles or Hypocritical Fryars. 

10. Dulcinus, King of Lombardy. 

11. Nogaret and Mariana. 

12. Don Pedro, King of Castile. 

13. John Paleologus, Emperour of Greece. 

14. Amedy, Duke of Savoy. 

15. Countess of Pontieuvre. 

16. Feliciane. 

17. Jone, supposed of Castile. 



238 

1 8. The Persian Princess. 

19. Don Sebastian, King of Portugal. 

20. Jecaya a Turkish Prince. 

This tale, enlarged, reappeared in 1733 as The 
Adventures of P. J., a. translation from D'Orville. 

II. A Collection of Select Discourses out of the most Eminent 
Wits of France and Italy. A Preface to M. Sarassin's 
Works by M. Pelissin. By S. R. for Henry Brome, 
London, 1678. (836c. i.) 

1. A Dialogue of Love, by M. Sarassin. 

2. Wallenstein's Conspiracy, by M. Sarassin. 

3. Alcidalis, a Romance, by M. Voiture. 

In 1676 a burlesque version of this romance ap- 
peared under the title Zelinde an excellent new 
romance. 

4. Freskie's Conspiracy by Sig. Mascardi. 

There are also discourses on style and letters to the dead, 
such as one to Cleopatre urging her to kill herself. 

in. Delightful Novels Exemplified in Eight Choice and Elegant 
Histories Lately Related hy the most Refined Wits; 
with Interludes . . . in which are comprised the Gallant 
Adventures, Amorous Intrigues, and Famous Enter- 
prizes of several English Gentry. With the most 
Pathetick Oratory and Subtil Stratagems used in Love- 
Affairs. The fourth Impression, Enlarged with the 
Addition of tivo New Novels. Printed by Benj. , 
Crayle, 1686. (io8id.6.) 
The stories are eight in number. 

1. Honorious. The tale of a poor reprobate who won a 
rich wife by a trick, 

2. AmasiusandOrtelia. Theselovers were betrothed, but 
desiring to make a better match Amasius's father tried 
to force him to marry another, whereupon Ortelia died 
of grief and was shortly followed to the grave by her 
lover. 

3. Cratander. He rescued an heiress from a cruel death 
by a murderous uncle and is rewarded by winning 
her hand and her wealth. 



239 

4- Charilius. A very gross story of a man who in trying 
to deceive an heiress was himself outwitted. 

5. Joanna. The heroine while a child ran away with the 

gypsies, but as it happened that she was brought 
up by an uncle her sudden diappearance was looked 
upon as suspicious and he was charged with mur- 
dering her. Upon being brought to trial he at- 
tempted to substitute another child for the lost one, 
which fraud, being found out, was used as evidence 
against him, and he was convicted and executed. 
Years later the little Joanna reappeared as a gypsy and 
married the son of the judge that sentenced her uncle. 
The management of the court scenes and the careful 
weaving of the net of circumstantial evidence is 
well done. 

The story was reprinted in many undated chap- 
books. 

6. Orithia. This is the old story of the "Duchess of 
Savoy." 

7. Clitia. This wicked courtezan induced Leander to kill 
his wife in order to marry her, not because she loved 
him but because such a marriage would conceal her 
intrigue with Clitophon. She died just before the 
ceremony, whereupon Leander committed suicide. 

8. Aurelia. She was the lady of Count Baldwin and in 

love with his page. The latter proved to be a girl, 
who being left destitute when the husband with 
whom she had eloped had been killed by robbers, 
had adopted the life of a page as a means to earn 
her living. Shortly after this disclosure, Aurelia 
died and Baldwin promptly married his quondam 
page. 

IV. Modern Novels. In Twelve Volumes. Bentley and 
Magnes. London, 1681-93. (12410.C.) 

This collection is composed of forty-six current 
novels printed for the most part before 1692 although 
the last volume bears the date 1693. Apparently the 
publishers simply bound together copies left on their 



240 

hands, for the title-pages bear varying dates and the 
print and paper are not uniform. 
Vol. I. 

1. The Earl of Essex and Queen Elizabeth. 

2. The Duke of Alangon and Queen Elizabeth. 

3. The King of Tamaran or Hattige. By G. Bremond (?) 

(1680.) 
A very coarse tale of a faithless mistress. 

4. Homais, Queen of Tunis, by Sebastian Grenadine. 

(1681.) 
A coarse love-intrigue. 

5. The Lucky Mistake: a new novel. (1689.) By A. 

Behn. 
Volume II. 

6. Casimer, King of Poland (Amours of). (1692.) 

7. Count Gabalies or the Extravagant Mysteries of the 

Cabalists. Done into English by P. A(yres). 

8. The Cheating Gallant; or, Count Brion. A secret his- 

tory of court amours. 

9. The Perplex'd Prince. 

The prince married a subject, and after his wife's 
death is prevailed upon to declare the child illegit- 
imate, but later he discovered his brother was plot- 
ting against him and made the child his heir. The 
descriptions of the country are better than usual. 
Probably there is a covert allusion to Charles and 
the Duke of Monmouth. 
Volume III. 

10. The Court Secret in two parts. Dedication signed 

P. B. Court scandal in Oriental setting. 

11. The Countess of Salisbury; or the most noble Order 
of the Garter. An Historical Novel in Two Parts. 
Done out of French by Mr. Ferrand Spence, (1683.) 

The introduction to this well-known anecdote is 
amusing, for the translator explains he had changed 
the heroine's name because "Joan" was too "vulgar," 
and for similar reasons the author had altered and 
enlarged certain details. 



241 

Volume IV. 

12. The Character of Love Guided by Inclination, in- 

stanced in two true histories. (1681.) 

The first was an account of the effects of love 
on a passionate boy followed by some remarks on 
the benefits of a good education. 

13. The New Disorders of Love; a gallant Novel. 

14. Triumph of Love over Fortune, by G. Bremond. 

(1678.) 

This is a tale of a shepherdess who preferred a 
shepherd to a King. 

15. Love Victorious over Fortune. 

The lovers manage to elope in spite of the obstacles 
put in their way by their parents. 
Volume V. 

16. Don Sebastian King of Portugal, trs. by Ferrand 
Spence. 

This story is a medley of love and war. 

17. Art of Making Love. 

18. Fatal Beauty of Agnes de Castro. (1688.) 

19. The Amorous Abbess or Love in an Abbey. 

This contains the usual intrigue of crossed loves. 
Volume VI. 

20. Life of Francis of Lorrain, Duke of Guise. (1681.) 

This seems to be a bone fide biography; there are 
no love intrigues. 

21. Fatal Prudence; or Democrates, The Unfortunate 
Hero. A Novel. Translated out of French. (1679.) 

22. Ottoman Gallantries; or, the Life of the Bassa of 

Buda. (1687.) Translated out of French. Trans- 
lator's preface signed B. Berenclow. 

23. Don Heneriques de Castro; or the Conquest of the 

Indies. 
A Spanish novel. 
Volume VII. 

24. The Chaste Seraglian : or, Yolanda of Sicily. A Novel 
in two parts done out of French by T. H., Gent. 

25. The Princess of Fess; or, the Amours of the Court of 
17 



242 

Morocco. This is a secret history in the form of 
a romance. 

26. Zelinde; an Excellent New Romance. Translated 
from the French of Monsieur de Scudery. By T. 
D., Gent. (1676.) 

This is a burlesque of Voiture's Alcidalis and 
Zelide. 

27. The Obliging Mistress; or, the Fashionable Roman. 

(1678.) ^ 
A series of lively but not very decorous intrigues. 

28. The Revived Fugitive; A Gallant Historical Novel. 

(1690.) 
A rather poor short romance. 
Volume VIII. 

29. The Extravagant Poet; a Comical Novel. Trans- 

lated from the French by G. R., Gent. (1681.) 

A humorous character in the manner of the Spec- 
tator but more extravagant. 

30. The Unequal Match; or the Life of Mary of Anjou, 

Queen of Majorca. Published by C. Blount. (1681.) 

31. Amours of Bonna Sforza, Queen of Polonia. (1684.) 

32. The History of the Marechal de la Ferte. (1690.) 
Volume IX. 

33. Gallant Ladies. 

A group of ladies tell their experiences. This 
mixture of romance and intrigue contains a con- 
siderable amount of "manners and morals." 

34. The Minority of St. Lewis. 

Primarily a true history though there are some 
love intrigues. 

35. Gallant Memoirs: or the Adventures of a Person of 
Quality. Written in French by G. Bremond and 
translated by Peter Belon, (1681.) 

36. The Happy Slave by G. Bremond. 

A romance. Dedicated to the Earl of Orrery. 
Volume X. 

37. The Count de Soissons, a Gallant Novel. 

A typical cloak and sword novel. 

38. The Princess of Montferrat, 



243 

A novel of the cloak and sword order modified by 
the conventions of the Hotel de Rambouillet. 

39. The Rival Princesses: or, the Colchian Court. (1689.) 

A coarse secret history. 
Volume XI. 

40. The Cabinet Opened; or, the Secret History of the 
Amours of Madam de Maintenon. (1690.) 

41. Meroveus, A prince of the Blood-Royal of France. 

(1682.) 

This story is set in the middle ages. The queen is 
remarkably well drawn. 

42. The Count of Amboise or the Generous Lover. Trs. 

by Peter Belon. (1689.) 

Evidently modelled after the Princess of Cleves 
and though not so good as that, it is superior to most 
novels of the period. 
Volume Xn. 

43. Instructions for a Young Nobleman or the Idea of a 
Person of Honour. (1683.) 

44. Virtue Rewarded: or, the Irish Princess. A New 

Novel. (1693.) 

45. The Emperour and the Empire Betrayed : By Whom 

and How. Not a novel but a controversial pam- 
phlet. 

46. Dialogues of the Dead. In Three Parts. Dedicated 
to Lucian in Elysium. Made English by J.D, 
(1683.) 

V. A Banquet for Gentlemen and Ladies, consisting of Nine 
Comick and Tragick Novels. London, second impres- 
sion, 1703. 

1. The Treacherous Friend. 

2. The Jealous Husband. Not unlike the Merry Wives 

of Windsor. 

3. The Friendly Cheat. 

4. Jealousy without a Cause. 

5. Cuckold turn'd Confessor, by John Haywood. 

6. The Prodigal Reclaim'd and Virginity Restored. 

This is a translation of The Force of Blood by Cer- 
vantes. 



244 

7. The Unfortunate Lovers. 

8. The Cruel Mother. She has her daughter's lover 

killed and serves her his heart at dinner. The girl 
is prevented from committing suicide by another 
lover whom she marries. 

9. The Bacchanalians. 

VI. A Select Collection of Novels. In Six Volumes. Written by 
the most celebrated A uthors in several Languages. Many 
of which never appeared in English before; and all newly 
Translated from the Originals. By several Eminent 
Hands. S. Croxall, 1722, reprinted 1729. (12410c.) 
Vol. I. 

Huet's Letter to Segrais upon the Original of Romances. 
Zayde. 

The Marriage of Belfegor. 
The Jealous Estremaduran. 
Volume IL 

The Princess of Cleves. Pt. I dated 1720. 
The Fair Maid of the Inn. 
The Force of Friendship. 

The History of the Captive from Don Quixote. 
Vol. III. 

Don Carlos; an Historical Novel. Originally written in 

French by the Abbe of St. Real. 
The History of the Count de Belflor and Leonora de 

Cespedes. 
The Curious Impertinent. 
The Prevalence of Blood. 
The Liberal Lover. 
The Beautiful Turk. 
Vol. IV. 

The Happy Slave. 
The Rival Ladies. 
The Innocent Adultery. 

The History of the Conspiracy of the Spaniards against 
the RepubHc of Venice. In the Year MDCXVIH. 
Vol. V. 

The Spanish Lady of England. 



245 

The Lady Cornelia. 

The False Dutchess. 

The Little Gypsy. 

Ethelinda. An English Novel done from the Italian 

of Flaminiani. 
Vol. VL 

The Life of Castruccsio Castracani of Lucca. From 

Machiavelli. 
The Loves of Osmin and Doraxa. From Guzman d' 

Alfarache. 
The Amour of Count Palviano and Eleanora. 
Scanderbeg the Great. 

VI L Winter Evening Tales. Being a Collection of Entertaining 
Stories, Related in an Assembly of the most Polite 
Persons of the French Nation. Published by F. 
Cogan, 1731. (12614.ccc.14.) 

1. History of the Marquis de Criton. A story with 
much the same plot as The Conscious Lovers. 

2. A very short anecdote showing how a number of 

unusual incidents made a man think his wife untrue. 

3. The Vinegar Man. This man's wealth enabled his 
son to marry a girl of rank. 

4. The Baby. A practical joke. 

5. All Covet, All Lose; or too many strings to a lady's 
bow. 

6. The Landlady at Mans. 

7. Mile. Ch., The Count and the Chevalier. 

8. The Mercenary Lady. 

9. Mistaken Opinion. A gentleman hearing two iron- 
workers talking thinks they are discussing the bolts 
and bars and fires of love. 

10. The Coquette Widow. 

11. One Project destroys another. 

12. Mile, de Roches. 

13. The Illustrious Water-Carrler. [From Cervantes.] 

14. Prentice too Hard for his Master. 

15. The Philosopher's Stone. 

16. Col. and Mile, de St. Valentine. A version of Lady 

Cornelia. 



246 



A LIST OF THE MORE IMPORTANT ENGLISH 

WRITERS WHOSE WORKS ARE INCLUDED 

IN THE FOREGOING BIBLIOGRAPHY 



Aubin, Penelope. 

Bacon, Francis. 

Barclay, John. 

Barker, Jane. 

Baron, Robert. 

Behn, Aphra. 

Boyle, Roger. 

Breton, Nicholas. 

Brown, Thomas. 

Bunyan, John. 

Burton, R., Nathaniel 
Crouch. 

Cavendish, Margaret, Duch- 
ess of Newcastle. 

Congreve, William. 

Crowne, John. 

Davies, John of Kidwelly. 

Defoe, Daniel. 



Greene, Robert. 
Haywood, Eliza. 
Head, Richard. 
Johnson, Richard. 
Kirkman, Francis. 
L'Estrange, Roger. 
Lodge, Thomas. 
Lyly, John 
Lyttelton, George, first 

Baron. 
Mackenzie, George. 
Manley, Mary de la Riviere. 
Markham, Gervase. 
More, Sir Thomas. 
Phillips, John. 
Sidney, Philip. 
Swift, Jonathan. 



INDEX. 



Abra-Mulie, 205 

Academy of Complements, 197 

Academy of Love (J. Johnson), 47, 
170 

Account of Cochin-China, 22g 

Account of Oriental Philosophy, 
ii3n, 185 

Account of some Passages in the 
Life of a Private Gentleman, 126 

Account of the behaviors . . . of the 
condemned criminals . . . at Ty- 
burn, 207 

Account of the discovering and 
taking of S. Griffith, a witch, 208 

Achilles Tatius, Leucippe and Cli- 
tophon, 1 1 

Addison, John, translation of Satyri- 
con, 9 ; 1 79 

Addison, Joseph, on heroic roman- 
ces, 36 ; writings of, express ideal 
of the age, 95 

Adlington, Win., translated the 
Golden Ass, 9 

Adventure of Clodaldus and his 
Three Children, 166 

Adventures of Abdalla, 227 

Adventures of Covent Garden, 47, 
20s 

Adventures of Evaii, Princess of 
Ijaveo, 99, 102, 231 

Adventures of L. Marott, 188 

Adventures of Prince Jakaya, 229 

Adventures of Rivella, 86—87, 213 

Adventures of Telemachus, 205 

Adventures of the Helvetian Hero 
with the Young Countess of Al- 
bania, 63—64 ; 204 

Agratis, Queen of Sparta, 197 

Alarme for Sinners, 188 



Alcoforado, Marianne, author of 
Portuguese Letters, 71 

Alexis and Sylvia, no 

Allegorical romances, 22-27 ; Bar- 
clay's Argenis, 23-25 ; imitations, 
25-27 ; The Flower of Fidelitie, 
26 ; Aretina, 26-27 ; influence of, 
on fiction, 27 

Allegory, in heroic romances, 35 ; 
Pilgrim's Progress most perfect 
example of, 121-24 ; Life and 
Death of Mr. Badman, 124-26 

Almahide (Mile, de Scudery), 28, 
33 ; drama founded on, 36 ; Moor- 
ish setting in, 27', 187 

Almanzor, 163 

Almanzor and Almanzaide, in, 188 

Ahnira, 210 

Altizira, Princess of Fess, 61, in, 
194 

Amadis Cycle source of Arcadia, 14 

Aniadis de Gaule, 4; The Fifth 
Book of, 173 

Amanda, the Reformed Whore 
(Thos. Cranley), 119-20; 166 

Amorous A., The, 196 

Amorous Bugbears, The, 221 

Amorous Convert, The, 189 

Amorous Travellers, The, 182 

Amours of Bonne Sforza, Queen of 
Polonia, 196 

Amours of Bosvil and Galesia (Mrs. 
Barker), 104, 214 

Amours of Count Teckeli, 198 

Amours of Edward IV, 57 ; 206 

Amours of Madame and the Count 
de Guiche, 191 

Amours of Messalina, 61, 201 



247 



248 



Amours of Philaris and Olinda, 51, 
202, 227 

Amours of the Count de Soissons, 
228 

Amours of the Marshal de Boufflers, 
20s 

Amours of the Sultana of Barbary, 
61, 201 

Amusements Serious and Comical 
Calculated for the Meridian of 
London, 47, in, 206 

Anaxander and Orazia, 169 

Annals of Love, The, 183 

Anti-hero in picaresque miscellanies, 
45 

Anti-romance, Zelinde an, 39 

Anti-romances, 43-49 ; comic ro- 
mances, 44-45 ; picaresque mis- 
cellanies, 45-47 ; narrative satires, 
47-48 ; contribution of, 48-49 

Apollonius of Tyre, 7, 8-9 

Apologue, The, examples, 112; in- 
fluence of, 113 

Apparition of Mrs. Veal, The 
(Daniel Defoe), 127, 209 

Apuleius, The Golden Ass, 9 

Arabian Nights Entertainment, in, 
212 

Arcadia (Sir Philip Sidney), 14-16; 
significant features in, 14-15; 
popularity of, 15 ; references, 15, 
imitations of, 16; pattern for 
Pandion and Amphigenia, 40 

Arcadian Princess, The, 166 

Arcadian Romances, 14-16 ; Sid- 
ney's Arcadia, 14-15; imitations, 
16; elements of, in Astree, 28 

Aretina (Sir George Mackenzie) 
26-27; 178 

Argenis (John Barclay), 24; trans- 
lations and imitations, 24-25, 41 

Ariana (D. de Saint-Sorlin), 38, 167 

Arragonian Queen, The, 220 

Art of Making Love, The, 200 

Artamenes or the Grand Cyrus, 33, 
36, 175 



Arthurian romances, 1600-1740, 3-5 ; 
contrasted with Spanish cycles, 5 

Asteria and Tamberlaine, 187 

Astraea, History of, 161 

Astree (Honore d'Urfe), 16, 28 

A talan t is Major, 212 

Aubin, Mrs. Penelope, Narratives 
of, characterized, 106 ; Life of 
Mme. de Beaumont, 106, io7n, 
217; Strange Adventures of the 
Count de Vinevil and his family, 
106, io7n, 218; The Noble Slaves, 
106, 219 ; History of Genghiscan, 
a translation, 106, 218; Life and 
Adventures of the Lady Lucy, 
106, 107, 224; The Illustrious 
French Lovers, 106, 107-8, 225; 
Life of the Countess de Gondes, 
106, io8n, 227; imitated Defoe, 
106, 134; value of works, 108; 
undated edition of works, 225n 

Aurora and the Prince, 171 

Autobiography, Defoe's favorite 
form of narration, 127, 130 

Bachelor of Salamanca, The, 232 

Bacon, Sir Francis, Nezv Atlantis, 
20; 163 

Baily, Dr., The Wall-Flozver, 233 

Bajaset, 221 

Bandello, 8, 51 

Banquet for Gentlemen and Ladies, 
A, 8, 52, 207 

Barbauld, Mrs., on Richardson's 
predecessors, 14 

Barclay, John, Argenis, 2^-25 ; 162- 
63 ; sketch of life of, 23n ; Eu- 
phormioiiis Lusinini Satyricon, 
47, 158 

Barker, Mrs. Jane, on the romances, 
43 ; early associations of, 103 ; 
Poetical Recreations, 103-4; Am- 
ours of Bosvil and Galesia, 104, 
214; other romances, i04n; Ex- 
ilius, 3in, 104-5, 113. 214; in- 
structive novels, 105; A Patch- 



249 



work Screen for the Ladies, 105, 
221 ; The Lining of the Patchwork 
Screen, 73, 105, 224; story of 
Capt. Manley, 105-6; The Chris- 
tian Pilgrimage translated by, 215 ; 
The Entertaining Novels of, 224 

Barlaam and Josaphat, 7, 8 

Baron, Robert, The Cyprian Acad- 
emy, 40-41 ; 171 

Bath-Intrigues, 221 

Behn, Mrs. Aphra, Source of The 
Young King, 36 ; 75-85 ; sketch 
of life, 75-76 ; three series of 
letters, 76 ; Love-Letters to a 
Gentlemen, 76-77 ; Letters to 
Lycidas, 77-78, igin; The Lover's 
Watch, 77, i98n; humorous 
stories : The Little Black Lady, 

78, 196 ; The King of Bantam, 78- 

79, 197; histories: Oroonoko, 80- 

82, 200 ; The Fair Jilt, 46, 77, 82- 

83, 200 ; novels of cloak and 
sword : Agnes de Castro, 83 ; The 
Nun, 83, 201 ; The Lucky Mis- 
take, 83, 201 ; summary of works, 
84-85 ; compared with Mrs. Hay- 
wood, 103 ; Histories and Novels, 
205; books attributed to, 213 

Beling, Richard, Sixth Booke to the 
Count esse of Pembroke's Ar- 
cadia, 163 
Belon, Peter, translator, 39 ; The 

Court Secret, 168 
Bentivolio and Urania (N. Ingelo) 

27 
Bcraldus, Prince of Savoy, 185 
Berenclow, R., translator, 39 
Berger Extravagant, Le (Sorel), 44 
Bergerac, Cyrano de, Comical His- 
tory of the States of the Moon 
and the Sun, 21, 168 
Bernard, Richard, The Isle of Man, 

118. 121, 163 
Berners, Lord, History of the most 
noble knight, Arthur of Lytell 
Brytaine, 4 



Biographical narrative popular in 
17th century, 60-62 

Biondi on Sidney, 16; Eromena, 
30 ; three romances by, 38 

Birinthia, 33, 35, 179 

Bissel, John, Icaria, 25, 167 

Blackborn, Richard, Clitie, 200 

Blackbourn, R., Three novels in one, 
201 

Blackmore, Sir Richard, Epics of, 4 

Blair, Bryce, Vision of Theodorus 
Verax, 183 

Blazing World, The (Duchess of 
Newcastle) 23, 36, 93 

Bloody Innkeeper, The, 185 

Boccaccio, 8, 51 

Bontemps, Roger, Les Heureuses 
Avantures d'Amour, 181 

Boulster Lecture, A, 168 

Bourgeoisie dealt with only in comic 
episodes. 98 ; sympathetic treat- 
ment of, 110; Bunyan wrote in 
terms of, 122 

Bower's Cyrus the Great, Source of, 
36 

Boyd, Elizabeth, The Female Page, 
232 

Boyle, Robert, Martyrdom of Theo- 
dora and Didymous, 8n, 199 

Boyle, Roger, Lord Broghill, Par- 
thenissa, 34, 175 ; personal allu- 
sions in Parthenissa, 35, English 
Adventures, 58-59, 186 

Brathwaite, Richard, The Smoking 
Age, 207 

Bremond, Gabriel de, 38n 

Breton, Nicholas, The Strange For- 
tunes of T'lvo Excellent Princes, 
154; A Mad World my Masters, 
155 ; Grimello's Fortunes, 155 

Brief and Merry History of Great 
Britain, 211 

British Recluse, The (Mrs. Hay- 
wood), 99, 218 

British Visions, The, 2i3n 

Broghill, Lord, see Boyle, Roger 



250 



Brothers, The, or Treachery pun- 
ished, 55, 227 
Brown, Thos., version of Satyricon, 

9; 179 
Brown, Tom, Dialogues of the Dead, 

97 

Browne, William, translated Polex- 
andre, 32, 171 

Bunyan, John, Sources of Allegories, 
121; Pilgrim's Progress, 122-24; 
190 ; Life and Death of Mr. Bad- 
man, 46, 124-25 ; Grace abounding 
to the Chief of Sinners, 125 ; The 
Holy War, 125 ; imitators of, 125- 
26 ; influence of, 126-27 

Burlesques, French, 44 

Burton, Richard, see Nathaniel 
Crouch 

Burton, Richard or Robert, pseu- 
donym of Nathaniel Crouch, 4, 
note 4a 

Bynnerman, Henry, Treasurie of 
Amadis of Gaule, 5 

Cabinet Open'd, The, 202 
Canons, Aristocratic fiction con- 
formed to recognized, i 
Canons derived from classical models, 

29, 30 
Capello and Bianca, 187 
Captain Singleton (Daniel Defoe), 

129-30, 216 
Carleton, R., Diana, Duchess of 

Mantua, 41, 189, 191 
Carolingian romances 1 600-1 740, 3; 

contracted with Spanish cycles, 5 
Casimer, King of Poland, 61, 62, 

202 
Casket story. The, of Shakspere, 8n 
Cassandra and Others of the Sex, 

208 
Castiglione, The Courtier of, source 

of the hero, 31 ; 89 
Celenia, 33, 35, 231 
Cervantes, Galatea, 37 ; Persiles and 

Sigismunda, 38 ; Liberal Lovers, 



38, 42; Don Quixote, 44, 158; 
humor of, 45 ; Exemplary Novels, 
S3 

Chamberlayne, P., Pharonnida, 30, 
2i; Love in its Empire, 217 

Chandler, F. W., on picaresque mis- 
cellanies, 43n, 45, 46, 47n 

Chapbooks, dealing with heroes, 4 ; 
imitations of Arcadia, 16; mod- 
eled on Euphues, 18 ; influence on 
fiction, 115 

" Character," The, 90 ; in periodicals, 

95 

Character of Love guided by Incli- 
nation, The, 198 

Character-sketch, The, types and in- 
fluence of, 96-97 ; Sir Roger de 
Coverly culmination of, 137 

Character-sketches, 48 

Character study, subjective in Play- 
ers Tragedy, 54 ; in memoirs, 62 

Characterization in heroic romances, 
31 ; in dialogues, 97 

Characters, in Ethiopian History, 
11-12; idealized in Arcadia, 14; 
prominent personages, 23 ; in 
Eromena, 34 ; in Celenia, 35 ; in 
miscellaneous romances, in New 
Atlantis, 60, 87-88 ; in novel of 
manners, 65 ; in Mrs. Manley's 
works, 86, 87 ; in Mrs. Rowe's 
works, 94 ; in Mrs. Haywood's 
works, loi ; in Bunyan's works, 
122, 123, 125 ; in Defoe's works, 
130, 133 

Charlanne on translations of heroic 
romances, 32 

Chaste Seraglian, The, 38, 196 

Cheating Gallant, The, 62, 188 

Chinese Letters, 232 

Chinese Tales or the Adventures of 
the Mandarin Fum-Hoam, in, 
221 

Chivalric Romances, 2-7 : Arthurian 
and Carolingian cycles in, 3-5 ; 
Spanish cycles, 5 ; narratives by 



251 



Ford, 6-7 ; contribution of, to 
early novel, 7, 116; elements of, 
in heroic romances, 28 ; redac- 
tions of, 1 1 5-1 6; structure in 
Pilgrim's Progress similar to, 122 

Choice Banquet of Witty Jests, 
Rare Fancies and Pleasant Novels, 
52, 179 

Choice Novels and Amorous Tales, 
173 

Christian Pilgrimage of Salignac de 
la Mot he Fenelon, 215 

Chronicle of Tyburn, The, 216 

Cimmerian Matron, The, 181 

Cinthio, 51 

"Circular plot" in Roxana, 131 

City Jilt, The, 232 

Classical Romances, 7-14; significa- 
tion of term, 7 ; Milesian tales, 
7-9; Latin fiction, 9-10; Greek 
erotic tales, 10-14 

Clelia, 33, 176 

Cleopatre (La Calprenede), 28, 36 

" Cleophil " pseud, of Congreve 

Clidamus, 167 

Cloria and Narcissus, 25, 33, 175 

Codrington, R., Life and Death of 
Robert, Earl of Essex, lyi 

Collection of Pleasant Novels, 206 

Colloquialism introduced into novel, 
114 

Colonel Jack see History and Re- 
markable Life of, 

Comedy, Influence of, on novels, 66 

Comic romances, Do}i Quixote, 44 ; 
French, 44 ; English, 44-45 ; in- 
fluence of, 45, 48 ; rarely vulga- 
rized, 116 

Comical Bargain, The, or Tricks 
upon Trick, 209 

Comical History of Francion, 44, 
176 

Comical History of the . . . Moon 
and the Sun, 21, 168 

Comical Pilgrim, The, 218 



Comical Viezvs of London and West- 
minster, 47 

Commercial class, Rise of the, 2 

Commonwealth of Oceana (James 
Harrington), 20, 176 

Companion for the Ladies Closets, 
213 

Compendious History of George the 
Farmer, 61 

Compleat Mendicant, The, 46 ; good 
man as hero in, 49, 206 

Conant, Martha Pike, The Oriental 
Tale in England, iii 

Conduct book, Euphucs a, 17 

Conduct books, 89-91 ; by Defoe, 
132, 133, 137 

Confession of R. B. the hangman, 
172 

Congreve, William, on novel as dis- 
tinguished from romance, 50 ; on 
analogy between fiction and 
drama, 67, 68 ; Incognita, 67-69 ; 
quotations, 67-68, 203 

Consolidator, The (D. Defoe), 21, 
127, 208 

Constant but Unhappy Lovers, The, 
210 

Constant Lovers, The, story of 
Solenus and Perrigonia, 42-43, 
228 ; story of Alexis and Sylvia, 
no 

Contemporary manners in English 
novels, 63 ; in Defoe's works, 132 

Contemporary narratives, Elements 
in, 114 

Continuation of Comical History of 
Don Quixote de la Mancha, 208 

Coralbo, 176 

Costeker, John Littleton, Entertain- 
ing History .of ... Solenus and 
Perrigonia, 42-43 ; 228 

Cotterel, Sir Charles, translated 
Cassander, 33, 173; exchanged 
epistles with the " Matchless 
Orinda," 36 

Count d'Amboise, 191, 201 



252 



Count de Soissons, 200 
Count of Gabalis, The, 192 
Counterfeit Lady Unveiled, The, 184 
Countess of Bedford's Arcadia, 156 
Countess of Montgomery's Urania 

(Lady Mary Wroth), 16 
Countess of Salisbury, The, 195 
Court Secret, The, 201 
Courtly romances, Transition from, 

to novel of manners, i 
Crafty Lady, The, 195 
Cranley, Thomas, Amanda, 119-20; 

166 
Credence. Devices used by Bunyan, 

for gaining, 125; by Defoe, 127 
Criminal biography, raised to realm 

of literature, 119; by Defoe, 130 
Cross, Prof., defines character- 
sketch, 96 
Crouch, Nathaniel, reworked old 

stories, 4 ; History of Nine 

Worthies of the World, 199 ; 

Female Excellency, 226 ; Life and 

Adventures of Mother Ross, 233 
Crowne, John, Paudion and Am- 

phigenia, 33, 40, 179 
Cruel Mistress, The, 2^2 
Cupid and Psyche, Episode of, 9 
Cynthia, 41-42 ; quotation from, 42 ; 

199 
Cyprian Academy, The (Robert 

Baron), 40; quotation from, 41; 

171 

D., T., as a translator, 39 
D., W., Gent., Taxila, 41 
Dancer, John, The English Lovers, 

233 
Daphnis and Chloe (Longus), 11 
Davies, J., translator, 182, i9in 
Davys, Mrs. Mary, The Reformed 

Coquette, 70, 220 
Dean of Killerine, The, 214 
Decameron, The, 5 in, 160 
Defoe, Daniel, Reflective point of 

view in, 12; and romances of 



roguery, 47; optimism in, 117, 
use of news-narratives by, 119; 
early literary training, 127-28; 
History of the Wars of Charles 
Xn, 127, 214; The Consolidator, 
21, 127, 208; The Apparition of 
Mrs. Neal, 127, 209; Robinson 
Crusoe, 128-29, 215 ; Capt. Single- 
ton, 129-30, 216; Moll Flanders, 
119, 129-30, 217; Colonel Jack, 
129-30, 218 ; Criminal literature 
and narratives of adventure, 129- 
30; Roxana, 119, 129-31, 220; 
Journal of the Plague Year, 132, 
218; Life and Adventures of Mr. 
Duncan Campbell, 132, 216; mis- 
cellaneous narratives, 132 ; The 
Family Instructor, 90, 132-33, 
134, 214; Religious Courtship, 
90. 133-34. 219; influence on 
prose fiction, 134-35 ; The Dumb 
Philosopher, 215 ; The King of 
Pirates, 216 ; Due Preparations 
for the Plague, i2gn, 218 ; The 
Highland Rogue, 219 ; History of 
. . . Life of John Sheppard, 220 ; 
A New Voyage Round the World, 
221 ; Account of the conduct of 
the late J. Gow, 221 ; Life and 
Actions of Jonathan Wild, 223 ; 
books attributed to, 49, 202, 207, 
211, 212, 2isn, 216, 218, 220, 
22311 

Dekker, Thos., O per se O, 46 ; The 
Belman of London, 157 

Delightful Novels, The, 8, 52, 113 

Delightful Novels exemplified in 
eight choice Histories, 198 

Deloney, Thomas, stories of popular 
heroes, 117; Historic of John of 
Winchomb, 160 

de Luna, John, Pursuit of the His- 
torie of Lasarillo de Tormes, 162 

Dent, Arthur, The Plaine Man's 
Patlm'ay to Heaven, n8, 121, 171 

Descriptive narratives, 47-48 



253 



Desmarets de Saint-Sorlin, Ariana, 
38 

Desperadoes, The, 229 

Dialogue, The, a device in social 
treatises, 90 ; examples and influ- 
ence of, 97 

Dialogue between Dick Brazenface 
and Tim Meanwell, 212 

Dialogue between Francesco and 
Aurelia, 198 

Dialogue in novelle, 62 ; in narra- 
tive comedies, 66 

Dialogues by Defoe, 97, 133-34 

Dialogues de M. le Baron de la 
Hon tan, 208 

Dialogues of Lucian, Imitations of, 
97 

Dialogues of the Dead, 50, 196 

Dialogues of the Dead (Prior), 97 

Dialogues of the Dead and the Liv- 
ing and the Dead (Tom Brown), 
97 

Diana (Montemayor), 37 

Diana, Duchess of Mantua (R. 
Carleton), 41, 189 

Dianea (Loredano), 38, 175 

Diction, Elegance of, in Greek ro- 
mances, 13 ; in Cyprian Academy 
and other romances, 40-41 

Didactic narratives of Mrs. Aubin, 
106 

Didactic purpose in Greek romances, 

38-39 

Didactic stories in periodicals, 95 ; 
by Mrs. Haywood, 99 

Didactic story, The, 111-13; fables, 
112; the apologues, 112; the edu- 
cative treatise, 113 

Didacticism, in Lyiy, 17 ; in heroic 
romance, 31, 36; in Reformed 
Coquet, 70 ; sentimental, 74 ; love 
of, 114; in Robinson Crusoe, 129; 
in Roxana, 131 

Digby, Sir Kenelm, wrought his 
courtship into romance, 60 



Digressions, Use of humorous, 68- 
69 

Discovery of a New World; or a 
description of the South Indies 
hitherto unknown, 20; 157 

Disguised Prince, The (Mrs. Hay- 
wood), 101-2 ; 226 

Disorders of Bassett, The, 200 

Distressed Child in the Wood, The, 
210 

Distressed Orphan, The, 109 ; out- 
lined, i09n., 223 

Divell a Married Man, The, 171 

Diversions of Mars and Venus, 206 

Domestic history in Pilgrim's Prog- 
ress, 123 

Domestic life in sketches in peri- 
odicals, 95 ; Mrs. Haywood's 
works, 99, 102 ; taste for themes 
from, 137 

Domestic tragedies. Examples of, 
120-21 

Don Belianis, Spanish romance, 5 

Don Carlos, 186 

Don Heneriques de Castro, 197; 
translation of, 57-58 

Don Juan Lamberto, satire, 6-7 ; 
45 ; 178 

Don Quixote (Cervantes), 44 ; pop- 
ularity of, 136 ; 158 

Don Sebastian, King of Portugal, 

19s 

Donzella Desterrada, 166 

Double Captive, The, 109, 215 

Drama, Influence of the, on fic- 
tion, 120-21 

Dramatists found material in Greek 
romances, 13 

Drudge, The, or the Jealous Ex- 
travagant, 48, 183 

Dryden, John, on heroic romances, 
27, 30 ; on the noble savage, 82 

Dryden's Conquest of Granada, 
Source of, 2,(> 

Du Bartas on Sidney, 15 



264 



Duke of Alangon and Queen Eliza- 
beth, s6 

Dunlop on Barlaam and Josaphat, 8 

Dutch Rogue, The, 46, 195 

Dykes, Dr. Oswald, Good Manners 
for Schools, 113 

Educative treatise, Mrs. Barker's 

Exilius, 104-5, 113; French and 

English examples, 113 
Element of actuality in allegorical 

romances, 27 
Eliana (John Pordage), 40 
Elizabethan literature, Romances of 

roguery in, 45 
Elizabethan romances. Redactions 

of, 116 
Elvira, 233 
Emotions, Subjective analysis of, in 

Mrs. Haywood's Works, 103 
Etnperour and the Empire Betrayed, 

50, 194 
Endimion de Gomhauld, 25, 167 
English Adventures, 233 
English Adventures (Roger Boyle), 

58-59; 186 
English Nobleman, The, 230 
English Nun, The, a comical de- 
scription of a Nunnery, 47, 206 
English Princess, The, or the 

Dutchess Queen, 57, 189 
English Rogue, The (R. Head), 46, 

179 

Entertaining History of . . Solenus 
and Perrigonia, The, (J. L, Cos- 
teker), 42-43, 228 

Entretien, U , des Beaux Esprits, 
230 

Episodes, Dramatic, in Greek ro- 
mances, 13 ; fabricated, in his- 
torical novels, 56 ; no extraneous, 
in Pilgrim's Progress, 123-24; ex- 
traneous, in Roxana, 131 

Epistles of Col. Henry Martin, 197 

Epitome of all the Lives of the 
Kings of France, 168 



Erastus or the Roman Prince, 185 
Eromena; or Love and Revenge, 

38n, 164 
Eromena, or The Noble Stranger; 
modelled on French romances, 30, 
33 ; story of, 34; 195 
Eryci Puteani Comus sive Phagesi- 

posia Cimmeria, 10, 165 
Essex Champion, The, 45, 195 
Ethiopian History^ The (Helio- 

dorus), 11-12 
Euphormionis Lusinini Satyricon, 

(John Barclay), 47, 158 
Euphues (John Lyly), 17-18 
Euphuism modeled on Greek ro- 
mances, 13 
Euphuistic Romances, 17-18; char- 
acteristics of Lyly's Euphues, 17- 
18; other examples, i8n 
Evagoras, 188 

Exemplary Novels (Cervantes), 53 
Exilius (Mrs, Barker), 3in, 104-5, 

"3, 214 
Extravagant Poet, The, 48, 193 
Extravagant Shepherd, The, 44, 175 

Fable, The, origin and examples, 
112; influence of, 113 

Fables of Aesop, The, 112, 173 

Fables of Pilpay, 112, 206 

Faerie Queen, The, and Pilgrim's 
Progress, 121-22 

Fair Jilt, The (Aphra Behn), Pica- 
resque material in, 46 ; heroine in, 
77 ; 82-83, 200 

Fair One of Tunis, The, 184 

Faithful Shepherd. The (Guarini), 37 

False Duchess, The, 218 

Familiar Letters of Love and Gal- 
lantry, 215 

Family Instructor, The (Daniel De- 
foe), 90, 132-33, 134, 214 

Family life in Defoe's works, 132 

Famous Whore, The, 158 

Fatal Prudence, 33, 191 



255 



Fatal Secret, The (Mrs. Haywood), 

99, 222 

Fatall Beauty of Agnes de Castro, 

200 

Feigned personages in romance, 38- 

39 

Female Deserters, The, 215 

Female Dunciad (Mrs. Haywood), 
98 

Female Falsehood, 208 

Female Gallant, The, 203 

Female Grievances Debated, 220 

Female Spectator, The (Mrs. Hay- 
wood), 98, 102-3 

Fenelon, Tclemaque, educative trea- 
tise, 113 

Fennor, William, Compters Common- 
wealth, 160 

Fiction, Three periods of, 136-37 

Fiction, literary. Three types of, 2 ; 
influence of ideal commonwealths 
on, 23 ; influence of allegorical 
romances on, 27 ; influence of 
heroic romances on, 29, 3S-37> 
contribution of Defoe to, 131 

Fiction, literary and popular. Dis- 
tinction between, 1-2 

Fiction and drama, Congreve on an- 
alogy between, 67-68 ; relation of, 
120-21 

Fidge, George, The English Gus- 
man, 173 

Fielding, combined novel and ro- 
mance, 116 

Five Love-letters from a Nun to a 
Cavalier, 189 

Five love-letters written by a Cava- 
lier, 204 

Flagellum, 183 

Floating Island, The, 184 

Flower of Fidelitie, The (John 
Reynolds), 26 

Folk-tales, Literary treatment of, 
1 16-17 

Ford, Emanuel, History of Ornatus 
and Artesia, 6 ; History of Paris- 



mus, 6 ; History of Montelion, 
Knight of the Oracle, 6 

Foreign observer, device used in 
ideal commonwealths, 23 ; in alle- 
gorical romances, 27 

Fortunate, The, the Deceived and 
the Unfortunate Lovers, 195 

Fortunate Fool, The, 181 

Fortunate Mistress, The, or a His- 
tory of the Life of Mile, de 
Beleau (Daniel Defoe), 119, 129- 
31, 220 

Fortunes and Misfortunes of Moll 
Flanders (Daniel Defoe), 119, 
129-30, 217 

Four true Tragic-Comical Histories 
of our Late Times, 53, 167 

French King proved a Bastard, The, 
203 

French King's Wedding, The, 116, 
210 

French novels, of manners, 114; 
of scandal, vulgarized, 116 

French romances made English, 
136 

French Spy, The, 206 

Friar Rush, 161 

Friendship in Death (Mrs. Rowe), 
93, 94, 226 

Fryer Bacon, 116, 163 

Furetiere, Le Roman Bourgeois, 44, 
47" 

Gainford, Thomas, History of Per- 

kin Warbeck, 160 
Galatea (Cervantes), 37 
Gallant Hermaphrodite, The, 199 
Gallant Memoirs, 62, 193 
Gallantry Unmasked, 202 
Gallants, The, 197 
Gallery of Heroic Women, 173 
Garganfna (Rabelais), 44 
Gayton, Edmund, Wil Bagnal's 

Ghost, 176 
Gayton, John, Pleasant Notes on 

Don Quixote, 175 



256 



Generous Rivals, The, narrative 

comedy, 69, 214 
Gentleman Apothecary, The, 182 
Gerardo, The Unfortunate Spaniard, 

164 
German Princess, The, 233 
Ghost story, raised to realm of 

literature, 119 
Gibbs, Richard, The New Disorders 

of Love, 199 
Gil Bias (Lesage), 44 
Gods Revenge against Murder 

(John Reynolds), 26 
Godwin, Francis, The Man in the 

Moone, 20-21, 168 
Golden Ass (Lucius Apuleius), 9 
Golden Eagle, Tale of the, 118; 188 
Gombauld, Jean Ogier de, Endy- 

mion, 25 
Gomberville, Polexandre, 28 
Gonsales, Domingo, pseud, of God- 
win, Francis, 2onS2 
Good Manners for Schools (Dr. 

Dykes), 113 
Good savage introduced into fiction, 

63, 81 
Goodman, Nicholas, Hollandes 

Leaguer, 165 
Gough's Strange Discovery, 13 
Governour of Cyprus, 201 
Grace Abounding to the Chief of 

Sinners (John Bunyan), 125 
Grand Cabinet-Counsels Unlocked, 

Grand Py rates. The, 185 
Great Alcander, The, 196 
Great Scanderbeg, The, 202 
Greek erotic tales, 10-14; origin of 
and examples, ion22 ; Daphnis 
and Chloe, 11 ; Ethiopian History, 
11-12; structure and style, 12-13; 
influence of, 13-14; Argenis a 
typical, 24 
Greek romances, Ethiopian History 
pattern for, 11 ; influenced heroic, 
28, 30 ; miscellaneous romances 
modelled after, 37-38 



Greene, Robert, 16, 18 
Guarini, The Faithful Shepherd, 37 
Gulliver's Travels (J. Swift), 21-22 
Guthrie, J., Life and Heroik Ac- 
tions of the Eighth Champion of 
Christendom, 232 
Guy of Warwick, 4 
Guzman Hind and Hannan Out- 
stript, 177 

Happy Slave, The (Gabriel de Bre- 
mond), 38, 188 

Harrington, James, Comonwealth of 
Oceana, 20, 176 

Hartlib, Samuel, Kingdom of Ma- 
caria, 23x1, 170 

Hattige or the Amours of the King 
of Tamaran, 192 

Haywood, Mrs. Eliza, on the ro- 
mances, 43 ; general characteris- 
tics, 98-99; Female Dunciad, 98; 
Memoirs of a certain Island ad- 
jacent to Utopia, 19, 60, 98, 222 ; 
Secret History of the Present In- 
trigues of the Court of Caramania, 
99, 225 ; Lassellia, 99, 220 ; The 
Rash Resolve, 99, 220 ; The Fatal 
Secret, 99, 222 ; The British Re- 
cluse, 99, 218 ; Letters of a Lady 
of Quality to a Chevalier, 99, 220 ; 
Idalia, 99-100; 220; The Mer- 
cenary Lover, loo-i, 224; The 
Padlock, loi ; The Disguised 
Prince, 10 1-2, 226 ; The Surprise, 
102, 223 ; Princess of Ijaveo, 99, 
102, 231 ; The Female Spectator, 
98, 102-3; The Tea Table, 99, 
102-3, 223; compared with Mrs. 
Behn. 103 ; The Injured Husband, 
220 ; Love in Excess, 221 ; La 
Belle Assemblie, a translation, 
22in ; Fantomina, 222 ; Mary 
Stuart, a translation, 222 ; Secret, 
222 ; The Unequal Conflict, 223 ; 
Histories. Novels and Poems, 
Life of Mme. de Villesache. 22$ ; 
Philidore and Pacentia, 22$ ; The 



257 



Irish Artifice, 226 ; The Fair 
Hebrew, 227 ; Persecuted Virtue, 
22^ ; Love-Letters lately passed 
between persons of distinction, 
227 

Head, R., The English Rogue, 46, 
179; Madame Wheedle, 182; Life 
and Death of Mother Shipton, 
196 ; Nugae Venales, 198 

" Heliodorian poesie," 30 ; described, 
38 

Heliodorus, The Ethiopian History, 
11-12; a source for dramatists, 
13; source of Arcadia, 14; pat- 
tern for heroic romance, 29-30 

Hell Reformed, 169 

Helvetian Hero, The, narrative 
comedy, 66-67 

Heptaineron, 175 

Hero, Chivalric type of, 5, 7 ; pas- 
toral, 14; heroic, 29, 30-31 ; ordi- 
ary good man as, 49 ; in The Fair 
Jilt, 82-83 ; in Mrs. Rowe's works, 
94; Robin Hood type, 117; in 
Pilgrim's Progress, 123; Crusoe 
the ideal practical, 128 

Heroe of Lorenzo, The, 173 

Heroic romances, 27-27 ; three stages 
of development of, 28 ; important 
features of, recognition of ro- 
mance, 29-30 ; canons derived 
from classical models, 30 ; hero 
and heroine, 30-31 ; sentiment, 
and pure moral tone, 31 ; trans- 
lations, 32-33 ; imitations, 33-35 ; 
influence of, 35-37 ; plays founded 
on, 36; rarely vulgarized, 116 

Heroical Adventures of the Knight 
of the Sea, 5 ; 154 

Heroik Life . . . of Henry the fourth, 

158 
Heroine in Greek romance, 12; 
pastoral type of, 14 ; heroic type 
of, 29, 30-31, 33 ; influence of 
Portugese letters on, 74 ; in The 
Fair Jilt, 82 ; Mrs. Rowe's, 94 ; 
Mrs. Barker's, 104 



Heroine Musqueteer, The, 189, 207 
Heywood, Thomas, Domestic trage- 
dies of, 120; Lives of Nine 
Worthy Women, 169 
Highland Visions, The, 48, 213 

Highwaywoman celebrating Marcy 
Clay, The, 1 79 

Hind, John, Eliosto Libidinoso, 156; 
We have brought our hogs to a 
fair market, 174 

Hind's Elder Brother, 174 

Historical anecdotes, 116 

Historical novels, 55-59, charac- 
terized, 55-56 ; examples, dealing 
with Queen Elizabeth, 56-57 ; 
Don Heneriques de Castro, 57-58 ; 
English Adventures, 58-59 

Historical Romance of the Wars be- 
tween the mighty Giant G. and 
the Great Knight Nasonius, 59 

Histoire de Larrons, 167 

Histories, by Mrs. Behn, 79-83 ; 
by Mrs. Manley, 85-86 ; of pop- 
ular heroes, 117 

History and novel distinguished, 51 

History and Remarkable Life of 
Colonel Jacque (Daniel Defoe), 
129-30 : 218 

History of Agnes de Castro (Mrs. 
Behn), 83 

History of Appian of Alexandria, 
191 

History of Blanchedyne, 166 

History of Bovinian, 117, 176 

History of Cang-Hy, the present 
Emperor of China, 205n 

History of Evoradmus, Prince of 
Denmarke, 155 

History of Executions, The, 228 

History of Genghiscan. 106, 218 

History of Henry IV, King of 
France and Navarre, 179 

History of Hypatia, The. 217 

History of Hy polite and Amynte. 
231 

History of John of Bourbon. 219 

History of King Appiiis. The. 226 



258 



History of Leonora Cespedes and 

Count de Belflor, 218 
History of Montelior, Knight of the 

Oracle (E. Ford), 6 
History of Nicerotis, 199 
History of Ornatus and Artesia (E. 

Ford), 6 
History of Parismus (E. Ford), 6 
History of Prince Mirabel's infancy, 

rise and disgrace, 6in 
History of Queen Elizabeth and her 

favorite the Earl of Essex, 56, 

172, 192 
History of Queen Margaret daughter 

to Henry H, 172 
History of Reynard the Fox, 116, 

193 

History of St. Elizabeth, 165 

History of Tarquin and Lucretia, 
181 

History of that Worthie Knight 
Mervine, 1 59 

History of the Bucaniers, 195 

History of the Civil Wars of Gra- 
nada, 37 

History of the five Wise Philoso- 
phers, 183 

History of the French Rogue, 183 

History of the Grand Viziers Maho- 
met and Achmet Coprogli, 186 

History of the Greene Knight and 
the Princess Beroshia, sn ; 155 

History of the Loves of Lysander 
and Sabina, 51 ; story of, 67 : 200 

History of the Marechalless de la 
Ferte Senneterre, 62, 202 

History of the most noble knight 
Arthur of Lyfell Brytaine (Lord 
Berners). 4 

History of the Nun (Mrs. Behn), 
83, 201 

History of the Royal Slave ; or 
Oroonoko (Aphra Behn), 80-82; 
quotation, 81 ; 200 

History of the Serrail, 166 

History of the Siege of Toulon by 



Donneau de Vise, 215 
History of the two children in the 

wood, 116, 216 
History of Wars of . . , Charles XH, 

King of Sweden (Daniel Defoe), 

127-28, 214 
Holland, S., Wit and Fancy in a 

Maze, 45 ; Don Zara del Fogo, 

176 
Homais, Queen of Tunis, 193 
Honourable Prentice, The, 159 
Hotel de Rambouillet, Influence of, 

29 ; revulsion against ideals of, 

72 ; usage of, a model for social 

treatises, 90 
Howell, James, Dodona's Grove, 

171 ; A Relation of the Life of 

Christina, Queen of Sweden, iy6 
Hue and Cry after Conscience, An, 

125, 199 
Huet, Bp. Pierre Daniel, on the use 

of prose or poetry, 29-30 ; on 

heroic romances, 29n ; on canons 

derived from Greek romance, 30 
Humanitarian novel, Oroonoko the 

first, 80 
Hume, James. Pantaleonis Vaticinia, 

Safyra, 10, 47, 165 
Humorous stories by Mrs. Behn, 78- 

79 
Huon of Bordeaux, 4 
Husband forced to be jealous. The, 

181 
Hutton, Luke. The Blackdog of 

Newgate, 154 
Hymen's Praeludia, 32. 174 
Hypolitus, Earl of Douglas . . . with 

the Secret-History of Mack-Beth, 

57, 210 

Ibrahim. 33, 38, 174 

Icaria (John Bissel), 25, 167 

Idalia (Mrs. Haywood), Story of, 

99-100, 220 
Ideal commonwealths. 19-23 ; de- 
fined. 19 ; More's Utopia and imi- 



259 



tations, 19-21 ; Gulliver's Travels, 
21-22; other works of Swift, 22; 
influence on novel, 23 ; other ex- 
amples, 23n 

Ildegerte, queen of Norway, ziy 217 

Idealism in Bunyan, 122 

Illegal Lovers, The, 226 

Illustrative story. Use of, in social 
treatises, 90; in Mr. B adman, 125 

Illustrious French Lovers, The 
(Mrs. Aubin), 106, 107-8, 225 

Illustrious Persian Maid, The, 203 

Illustrious Shepherdess, The, 176 

hnaginary Conversations, of Landor, 

97 

Immorality, Reaction against, in 
early i8th century, 89, 114 

Impartial History of the Life and 
Actions of Peter Alexowitz, 
Czar of Muscovy, 220 

Incognita (Congreve), Extract from 
Introduction to, 50 ; 67-69 ; 203 

Inconstant Lover, The, 182 

Ingelo, Nathaniel, Bentivolio and 
Urania, 27, 178 

Innocent Adultery, The, 218 

Instructions to a Young Nobleman, 
50 

Instructive novels, Mrs. Barker, 105 

Intrigue, in Milesian tales, 7 ; in 
17th century romances, 41 ; in 
novels of cloak and sword, 53- 
54 ; with characters under feigned 
names, 59 ; in novelle, 62 ; in Eng- 
lish novel of manners, 63-66 ; in 
narrative comedies, 66 ; in works 
of Mrs. Manley, 85, 86 ; novel of, 
favorite type with Mrs. Hay- 
wood, 98 

Intrigues of Love, 201 

Irish Rogue, The, 46, 202 

Island of Content, The, 21 1 

Isle of Man, The (R. Bernard), 118, 
121, 163 

Jackson's Recantation. 185 



Johnson, Capt. Charles, Lives and 
Adventures of the most noted 
highwaymen, 230 ; History of Rob- 
beries and Murders of the most 
famous Pyrates, 230 

Johnson, Dr., on Mrs. Rowe, 95 

Johnson, John, True Relation of 
God's Wonderful Mercies, 1 56 ; 
Academy of Love, 47, 170 

Johnson, Richard, St. George's three 
sons, 157; Looke on me London 
I am an honest Englishman, 159; 
Seaven Champions of Christen- 
dom, 159 ; History of Tom Thumb, 
161 ; History of George a Greene, 
i6s 

Journal of the Plague Year (Daniel 
Defoe), 132, 218 

Journalistic point of view in De- 
foe, 127 

Jusserand on Emanuel Ford, 6 ; 
English Novel in the Time of 
Shakespeare, isn ; on Euphues, 
17; on Zelinde, 39 

Just Rezvard of Rebels, The, ii7n, 
170 

Keach, Benjamin, The Travels of 

True Godliness, 125, 195 
Keach, Thomas, Progress of Sin, 

125, 196-97 
Kitig of Bantam, The (Aphra Behn), 

78-79 ; quotation, 79 ; 197 
King of Pirates, The, 211 
Kirkman, Francis, new versions of 

old stories, 4 ; The Unlucky Citi- 
zen, 46, 184 
Knights of the Blade, 174 
Koerting, Prof., on three stages of 

heroic romance, 28 
Kiitz, Otto, The Faerie Queen and 

Pilgrim's Progress, i22n 

La Calprenede, Use of suspense in, 
12 ; Cassandra, Cleopatre, Phara- 
mond, best examples of heroic ro- 



260 



mance, 28 ; patterned after Helio- 
dorus, 29 ; translations of, 32 ; 
influence of, on English fiction, 

36-37 
La Fayette, Mme. de, Princess de 

Cleves, 55, 200 
La Mothe, Marie Catharine, The 

Diverting Works of Countess d' 

Aulnay, 209 
Lady's Philosopher's Stone, The, 

222 
Lassellia (Mrs. Haywood), 99, 220 
Late Storie of Mr. William Lilly, 

The, 171 
Lawyer's Clarke Trappan'd, 179 
Le Guys, Sir Robert, translator of 

Barclay's Argenis, 25 
Legend of Captain Jones, 185 
Legends, Literary treatment of, 

116-17 
Lesage, Gil Bias, 44 ; humor of, 45 
L'Estrange, R., translator, 48; 112, 

189 
Letter, A, concerning the country of 

Muley Arxid, King of Taleletta, 

182 
Letter, The, as a narrative form, 

74 ; in periodicals, 95 
Letters in imitation of the Nun's 

five letters (Mrs. Manley), 73, 205 
Letters moral and entertaining (Mrs. 

Rowe), 90, 93-94, 227 
Letters of a Lady of Quality to a 

Chevalier (Mrs. Haywood), 99, 

220 
Letters of a Portugese Nun, 48 ; 

described, 70-72 ; other renderings 

and imitations, 72-73 : influence 

of, 73-75, 114, 136 ; on Mrs. Behn, 

77 ; imitated by Mrs. Haywood, 99 
Letters of a Turkish Spy, 23, 59, 

74-75, 85, III ; continuation of, 

by Defoe, 128; 199 
Letters of Ahelard and Heloise, 73 
Letters of Love and Gallantry, 73, 

204 



Letters to Lycidas (Mrs. Behn), 77- 
78, igin 

Letters, The CCXI Sociable (Duch- 
ess of Newcastle), 92-93 ; 179 

Leucippe and Clitophon (Achilles 
Tatius), II, 13 

Liberal Lovers (Cervantes), 38, 42 

Life, Adventures and Pyracies of . . . 
Capt. Singleton, 129-30, 216 

Life and . . . Actions of George Henry 
Baron de Goertz, 216 

Life and Actions of Lewis Domini- 
que Cartouche, 218 

Life and Adventures of Buscon the 
witty Spaniard, 177 

Life and Adventures of Mr. Cleve- 
land, 134, 230 

Life and Adventures of Mr. Dun- 
can Campbell (Daniel Defoe), 
132, 216 

Life and Adventures of Pedrillo del 
Campo, 220 

Life and Adventures of the Lady 
Lucy (Mrs. Aubin), 106, 107, 224 

Life and Amours of the Count de 
Tourenne, 226 

Life and Death of Edzvard the 
Black Prince, 184 

Life and Death of Gamaliel Ratsey, 
155 

Life and Death of Griffin Flood, 
162 

Life and Death of John Rheinboldt, 
215 

Life and Death of Mr. Badman 
(John Bunyan), 124-25; 192; 
Picaresque material in, 46 

Life and Death of Mr. J. A. a no- 
torious highwayman, 212 

Life and Death of Mumper, 207 

Life and Intrigues of Mrs. Parri- 
more, 227 

Life and Piracies of Capt. Avery, 
61 

Life of Francis of Lorrain. Duke 
of Guise, 193 



261 



Life of Mahomet, 228 

Life of Merlin J 170 

Life of Mnie. de Beaumont (Mrs. 

Aubin), 106, io7n, 217 
Life of Sethos, 113, 229 

Life of St. Francis Xavier, 200 

Life of the Countess de Gondes 
(Mrs. Aubin), 106, io8n 

Life of the renowned Peter d' Au- 
busson, 191 

Lining of the Patch-?i'ork Screen 
(Mrs. Barker), 73, 105, 224 

Little Black Lady, The (Aphra 
Behn), 78, 196 

Lives and Amours of the Empresses, 
consorts to the first tzvelve Caes- 
ars of Rome, 221 

Lives of Saint Elzear and his Wife, 
168 

Lives of Sundry Notorious Villains, 
188 

London-Bawd, The, 212 

London Spy Compleat, The (E. 
Ward), 23, 48, 207 

Long, Kingesmill, translator of the 
Argenis, 24 

Longus, Daphnis and Chloe, 11 

Look ere you Leap, 212 

Love a la mode, 228 

Love and Arms of the Greek Prin- 
ces, 169 

Love at First Sight, 178 

Love in a Passion without Discre- 
tion, 119, 211 

Love in all its Shapes, 230 

Love Led Astray (Mrs. Plantin), 
112, 225 

Love Letters between a Nobleman 
and his Sister, 73, 204, 230 

Love Letters betzveen Polydonis and 
Messalina, 201 

Love Letters from Henry VIII to 
Anne Buleyn, 213 

Love-letters to a Gentleman (Aphra 
Behn), 76-77 

Love Lottery, The, 211 



Love story. The popular, 119-20 
Love upon Tick, 222 
Love Victorious over Fortune, 196 
Loveday, R., translated Cleopatre, 

32, 174 
Lover's Secretary, The, 108-9, 213 
Lover's Watch, The (Mrs. Behn), 

77, i98n 
Love's Academy, 216 
Love's Journal, 182 
Love's Poesie, 198 
Loves and Adventures of Clerio and 

Logia, 1 74 
Loves of Charles, Duke of Mantua 

and Margaret, Countess of 

Rovers, The, 181 
Loves of Lysander and Sabina, 200 
Loves of Osmin and Doraxa, 221 
Loves of Sundry Philosophers, The, 

184 
Loving Enemy, The, 172 
Lucas, Theophilus, Memoirs of 

Gamesters, 213 
Lucky Mistake, The (Mrs. Behn), 

83, 201 
Lyly, John, Euphues, 17-18 
Lyttleton, George, Letters from a 

Persian in England to his friend 

at Ispahan, 231 

Macaulay on Afra Behn, 83 

Mack-Beth, see Hypolitus 

Machiavelli, The Prince, 89 

Mackenzie, Sir George, Aretina, 26- 
27, 178 

Madde Pranckes of Merry Mall of 
Banckside, 158 

Mall, The, 47, 211 

Man in the Moon, The, 48, 158 

Man in the Moone (Domingo Gon- 
sales), 20-21 ; 168 

Manley, Capt., Story of, by Mrs. 
Barker, 105-6 

Manley, Mary de la Riviere, Sum- 
mary of life and works, 85-86 ; 
Queen Zarah and the Zara::ians, 



11 



262 



59, 8$, 2o8 ; Secret Memoirs and 
Manners of several Persons from 
the New Atlantis, 19, 20, 60, 85, 
87-88, 211 ; Memoirs of Europe at 
the close of the eighth century, 
86, 212; The Adventures of 
Rivella, 86-87, 213; History of 
her Life and Times, 86, 222 ; A 
Stage-coach Journey to Exeter, 
86, 223 ; Bath Intrigues, 87, 221 ; 
The Power of Love, 52, 87, 217 ; 
works contrasted with Mrs. Behn 
and Mrs. Hajrwood, 88 ; Letters, 
in imitation of the Nun's five 
letters, 73, 205 ; Court Intrigues, 
212 

Marivaux, Le Paysan Parvenu, no, 
232; La Vie de Marianne, no 

Markham, Gervase, translator, Pas- 
toralls of Julietta, 156; Second 
parte of Arcadia, 159 

Mary Stuart, Queen of Scots, 222 

" Matchless Orinda " see Dutchess 
of Newcastle 

Matchless Rogue, The, 222 

Mayden in Confolens, 155 

Memoir, Influence of the, on nar- 
rative art, 62 

Memoir structure, in Gulliver's 
Travels, 22 ; in Robinson Crusoe, 
128 

Memoirs and History of Prince Titi, 
232 

Memoirs of a Cavalier (Daniel De- 
foe), 132 

Memoirs of an Island adjacent to 
Utopia (Mrs. Haywood) in form 
an ideal commonwealth, 19 ; a 
secret memoir, 60, 98 ; 222 

Memoirs of Europe at the close of 
the eighth century (Mrs. Manley), 
86, 212 

Memoirs of Gaudentio de Lucca, 
231 

Memoirs of Miss Cadier and her 
Father, 228 



Memoirs of Mile, de St. Phale, 61 

Memoirs of the Baron de Brosse, 
222 

Memoirs of the Court of Spain, 203 

Memoirs of the Life and Aventures 
of Signor Rozelli, 61, 211 

Memoirs of the Life of Enteric, 
Count of Teckely, 204 

Memorials of Margaret de Valois, 
170 

Mercenary Lover, The (Mrs. Hay- 
wood), loo-i, 224 

Mercury Gallant, The, 184 

Meroveus a Prince of the Blood- 
royal of France, 33, 194 

Middle class. Serious portrayal of 
the, 98 ; glorification of, in his- 
tories of popular heroes, 117 

Milesian tales, defined 7-8 ; Bar- 
laam and Josaphat, 8 ; Apollonius 
of Tyre, 8-9 

Milk for Babes, Meat for Strong 
Men, 229 

Miracles of the Age, 208 

Mirrour for Mindes, The, 164 

Miscellaneous Romances, 37-43 ; 
Moorish or Moslem setting em- 
ployed, 37-38 ; three Italian ro- 
mances, 38 ; some English redac- 
tions, and romances, 39-44 ; four 
romances with Spanish setting, 
41-43 ; end of affected court ro- 
mance, 43 

Misoponeri Satyricon, 9-10 

Mock-Clelia, The, 44, 190 

Modern Novels, Types of fiction in, 
50 ; 203 

Mogul Tales, 231 

Moll Flanders, see Fortunes and 
Misfortunes of 

Montelion, Knight of the Oracle, 
Don Juan Lamberto, 6 

Montemayor, Diana, 37 

Moorish history as setting for ro- 
mances, 37 



263 



Moral purpose in heroic romance, 

29, 31 

Moral reaction, 137 
Moral tracts, Theme of, and ex- 
amples, 118 
Morality, Practice of in early i8th 

century, 89 
More, Sir Thomas, Utopia, 19 
Morte Darthiir reprinted, 3-4 
Moslems in romances, 37-38 
Motivation of characters. Lack of in 

Mrs, Manley, 87-88 
Mrs. Mauley's History of her life 

and Times, 86, 222 
Munday, translations from Spanish, 5 
Mundus Alter et Idem, 19, 157 
Murder will out, 203 

Narration, Direct, in chivalric ro- 
mances, 5 ; mingled with indirect 
in Arcadia, 15 

Narration in Swift's Works, 22 

Narration, Indirect, in classical ro- 
mances, 12 

Narration, Realistic, in biographical 
narratives, 62 

Narrative modified to suit social 
conditions, 97-98 

Narrative of adventure, Mrs. Aubin, 
106; raised to literature by De- 
foe, 119, 137; examples by Defoe, 
130 

Narrative of the Adventures of L. 
Marott, 188 

Narrative comedies, 66-70 ; charac- 
teristics of, 66 ; The Helvetian 
Hero, 66 ; History of the Loves of 
Lysander and Sabina, 67 ; Incog- 
nita, 67-69 ; The Generous Rivals, 
69 ; The Rival Mother, 70 ; The 
Reformed Coquet, 70 ; King of 
Bantam, 79 ; Lover's Secretary 
similar in style to, 109 ; influence 
of, 114 

Narrative satires. Examples of, 47- 



Naturalism, in Pilgrim's Progress, 
123 ; of Defoe, 135 

Nature's Paradox, 174 

Nature's Pictxires drawn by Fancie's 
Pencil (Duchess of Newcastle), 
92; 176 

Neapolitan, The, 195 

Neville, Henry, The Isle of Pines, 
169 

New Atalantis, The (Mrs. Manley), 
in form an ideal commonwealth, 
19; origin of title, 20; a secret 
memoir, 60, 85, 86 ; motivation of 
characters in, 87-88; 211 

New Atlantis (Sir Francis Bacon), 
20 ; 163 

New Quevedo, The, 48 

New Version of the Lady Gr — j 
concerning her sister, the lady 
Berkeley, 194 

Newcastle, Margaret, Duchess of. 
Influence of heroic romance on, 
35-36; characterized, 91; The 
World's Olio, 91-92; Nature's 
Pictures drawn by Fancie's Pencil, 
92, 176; The CCXI Sociable Let- 
ters, 92-93, 179; The Blazing 
World, 23, 36, 93 ; Biography of 
the Duke of Newcastle, 93 ; Auto- 
biography, 93 ; Description of a 
New World, 178 

News-narratives, sensational. Ex- 
amples of, 119 

Nissena, 175 

Northern Worthies, The, 227 

Notorious Imposter, The, 203 

Novae Solymae Libri Sex, 25, 172 

Novel, The, Distinction between, 
and romance, 50-51 ; and history, 
SI ; Italian Novelle, 51-52 ; of the 
Cloak and Sword, 52-55 ; histori- 
cal, 55-59 ; veiled histories, 59- 
60; pseudo-journals, etc., 60-62; 
of manners, 62-66 ; narrative 
comedies, 66-70 ; the Portuguese 
letters, 70-75 ; works of Aphra 



264 



Behn, 75-85 ; works of Mary de 
la R. Manley, 85-88 ; transition 
in taste and ideals of conduct, 89 ; 
social treatises, 89-91 ; Duchess 
of Newcastle, 91-93 ; Mrs. Eliz. 
Rowe, 93-95 ; periodicals, 95 ; the 
" character," 96 ; the dialogue, 97 ; 
Mrs. Haywood, 98-103; Mrs. 
Barker, 103-6; Mrs. Aubin, 106- 
8; occasional pieces, 108-10; the 
oriental tale, iio-ii ; the fable, 
111-12; the apologue, 11 2-1 3; the 
educative treatise, 113; summary 
of development, 1 700-1 740, 113- 
14 ; contrasted with romance of 
chivalry, ii6 

Novel of incident. Influence of ori- 
ental tales on the, 1 1 1 ; influence 
of fable on the, 113 

Novel of intrique, Picaresque ma- 
terial in, 46 ; favorite type with 
Mrs. Haywood, 98 ; and apologue, 
112; rarely vulgarized, 116 

Novel of manners. Beginnings of, 
in England, 1-2 ; Euphnes the 
first, 17; contribution of anti- 
romances to, 48 ; signs of de- 
velopment of, 49 ; the Italian and 
French, 62-63 ; Virtue Rezvarded, 
63 ; Adventures of the Helvetian 
Hero, 63-64 ; The Unhappy Lov- 
ers, 64-65 ; the idealistic, 65-66 ; 
and social treatises, 90 ; by Mrs. 
Haywood, loi ; and popular his- 
tory combined by Mrs. Aubin, 106 ; 
influence of fable and apologue 
on, 113; contribution of Defoe to, 
134-35; rapid rise of, 137 

Novels of the Cloak and Sword, 52- 
55 ; characteristic features of plot, 
52-53 ; French and Spanish ex- 
amples, S3 ; Triana, 53-54 ; The 
Player's Tragedy, 54 ; The Broth- 
ers, 55 ; by Mrs. Behn, 83-84 ; by 
Mrs. Haywood, 99 ; History of 
John of Bourbon, 219 



Novelle, in 17th century, 51-52; 
secret histories similar to, 60 ; 
characteristics of Italian and 
French, 62-63 ; narrative comedies 
similar to, 66 ; center of interest 
in, 98; in collections, 113; super- 
seded romances, 136 

Novels of Don Quevedo Villegas, 
209 

Novels of Elizabeth, 192 

Novels of G. F. Loredano, 194 

Novels of Scarron, lyj 

Obliging Mistress, The, 190 
Occasional and anonymous pieces, 
108-10; Unhappy Lovers, 108; 
Lover's Secretary, 108 ; Double 
Captive, 109; The Distressed 
Orphan, 109-10; Alexis and 
Sylvia, no; The Unnatural 
Mother, no; Le Paysan Parvenu, 
La Vie de Marianne, no 
Ollenix du Mont-Sacre, The Pas- 

toralls of Jnlietta, 37, 156 
Oriental fabliaux. Source of, 8 
Oriental Tale, Examples and influ- 
ence of the. III 
Oriental Tale in England (M. P. 

Conant), in 
Oriental Tales in periodicals, 95 ; 

by Mrs. Haywood, 99 
Orinda, Circle of the " matchless," 

90 
Oroonoko, see History of the Royal 

Slave 
Orphan, The (Otway), 58, 74 
Osborne, Dorothy, on translations of 
Pole.vander and L'illustre Bassa, 
32 ; on Parthenissa, 34, 35 
Ottoman Gallantries, 199 
Otway, The Orphan, 58, 74 
Overthrozv of Capts. Ward and 
Daneke, The, 233 

Padlock (Mrs. Haywood), loi 
Painter's Palace of Pleasure, source 



265 



of some of Mrs. Manley's stories, 

87 
Palmeryn d'Olivia popular Spanish 

romance, 5 
Palmeryn of England translated 

from Spanish, 5 
Pamela (Richardson), source of 

name, 15; moral purpose in, 90; 

Moll Flanders similar to, 130, 

233 
Pandion and Amphigenia (John 

Crowne), 33, 40, 179 
Pantaleonis Vaticinia, The (John 

Hume), 10, 47, 165 
Panthalia, 25, 33, 178 
Paris and Vienne, 4 
Parthenissa (Roger Boyle), 33-34; 

17s ; see Appendix " A " 
Pastoralls of Julietta, The, 37, 156 
Pastorals in early i6th century, 37 
Patchwork Screen for the Ladies, A 

(Mrs. Barker), 105, 221 
Pathzvay to Peace, The, 118, 170 
Patronage system. Breaking down 

of the, 2 
Paysan Parvenu, Le (Marivaux), 

no, 232 
Penault, P. de Moulin F,, The Devil 

of Mascon, 177 
Peppa, 201 
Pepys, Mrs., Fondness of, for heroic 

romances, 36 
" Perfect courtier," in Arcadia, 14, 

in Enphues, 17 
Perfidious Brethren, The, 217 
Periodicals, Contribution of, to 

novel, 95 ; 137 
Perplexed Prince, The, 59, ii7n, 

194 
Perplex' d Princess, The, 195 
Persian and Turkish Tales, iii, 214 
Persian Anecdotes, 228 
Persian Letters by C. de Secondat, 

228 
Personal element in works of Mrs. 

Behn, 84-85 



Personal slander in biographical 
narratives, 61-62 ; in works of 
Mrs. Manley, 85 

Petronius Arbiter, Satyricon, 9-10 

Pharaniond (La Calprenede), 33, 188 

Pharonnida (P. Chamberlayne), 30, 
33 

Philips, Mrs. Catherine, Literary 
coterie of, 35-36, 103 

Phillips, John, translator of Alma- 
hide and Pharamond, 33 ; of Don 
Quixote, 44, 158 

Philosophus Autodidactus, sive Epis- 
tola Abu Jaafar Ebn Top hail, 
ii3n, 183 

Picara, La, 180 

Picaresque Miscellanies, described, 
45 ; examples of, 45-47 ; decline 
of, 47, 48; condensations of, 116 

Picaresque narratives influenced by 
Satyricon, 10 

Picaresque novels. Examples of, 53 

Picaresque stories in periodicals, 95 

Pilgrims, The, 192 

Pilgrim of Cast eel. The, 162 

Pilgrim's Progress (John Bunyan), 
not a literary romance, 27 ; 121- 
24; sources of, 121-22, as a nar- 
rative, 122-23 ; episode of Mrs. 
Brisk and Mercy quoted, 123-24; 
Matthew's illness quoted, 124; 
popularity of, 125-26; 190 

Pilgrim's Progress from Quakerism 
to Christianity, 207 

Plaine Man's Pathzvay to Heaven, 
The (A. Dent), 118, 121, 171 

Plantin, Mrs. Arabella, The Ungrate-' 
ful, 112, 225; Love Led Astray, 
112, 225 

Player's Tragedy, 54, 204 

Plays founded on episodes in the 
romances, 36 

Pleasant Companion, The, or Wit in 
all Shapes, 52 ; 230 

Pleasant Novel, A, 190 

Plot in Zelinde, 39 ; in Cynthia, 42 ; 



266 



in novels of manners, 65 ; essen- 
tial feature of narrative, 95 ; in 
Roxana, 131 ; development of, 137 

Plots in English miscellaneous ro- 
mances, 39 

Poetical Recreations (Mrs. Barker), 
103-4 

Poetical Works of Philip, late duke 
of Wharton, Fables in, 112; 225 

Polexandre (Gomberville), 28 ; trans- 
lations of, 32-33; 171 

Polite Conversation (Swift), 97 

Political Romances, see Ideal Com- 
monwealths 

Political significance in popular his- 
tories, ii7n 

Political tract, The, 119 

Politics in secret histories, 59 ; in 
pseudo-biographies, and memoirs, 
61 

Polyandre (Sorel), 44 

Pope, W., The Memoirs of Mon- 
sieur Du Vail, 182 

Popular fiction distinct from liter- 
ary, 1-2 ; had no merit, 2 ; dis- 
cussed, 1 1 5-21; variety of types 
of, IIS ; vulgar redactions of aris- 
tocratic fiction, 115-16; legends, 
folk-tales and historical anecdotes, 
1 1 6-1 7; histories of popular 
heroes, 117; moral and religious 
tracts, 118; news-narratives, 119; 
popular love stories, 119-20; 
Amanda, 119-20; Love in a Pas- 
sion without Discretion, 119 ; rela- 
tion of Richardson to, 120; do- 
mestic tragedies, 120-21 

Popular heroes. Tales of, 117 

Pordage, Samuel, Eliana, 40, 175 

Portents, features in Cynthia, 42 

Portraicture of the Nine Worthies 
of the World, 162 

Portuguese Letters, The, See Letters 
of a Portuguese Nun 

Possession and Conversion of a 
penitent, 159 



Power of Love in Seven Novels 
(Mrs. Manley), 52, 86, 87, 217 

Practises of Elisabeth Caldwell, 156 

Prevost, Abbe, imitator of Defoe, 
134 

Prince d' Amour, Le, 178 

Princess de Cleves (Mme. de La 
Fayette), 55 ; 200 

Princess of Ijaveo (Mrs, Haywood), 
99, 102, 231 

Princess of Montferrat, 193 

Prior, M., Dialogues of the Dead^ 97 

Progress of a Rake, The, 229 

Prose and poetry, Little distinction 
between, 29-30 

Prose fiction, Influence of Defoe on, 
134-35 

Proverb literature. Dykes' Good 
Manners for Schools, 11 2-1 3 

Pseudo-histories of Mrs. Haywood, 
98-99 

Pseudo-letter, Vogue of, 75 ; de- 
vice in social treatises, 90 

Pseudo-memoirs, Characteristics of, 
and examples, 60-62 ; value of, 
62 ; by Mrs. Manley, 85-86 

Psittacorum Regio, 20; 181 

Psyche, 226 

Queen Elizabeth, heroine of histori- 
cal novels, 56 

Quevedo-Villegas, Visions and Dis- 
courses of, translated by L'Es- 
trange, 48 

Ramble, The, 47, 228 

Rash Resolve, The (Mrs. Haywood), 
99, 220 

Reading public. Change in, 2 

Realism in heroic romance, 31 ; 
growth of, in romances, 49 ; in 
the Portuguese Letters, yz, 114; 
in The Fair Jilt, 83 ; in Duchess 
of Newcastle's Works, 93 ; in Mrs. 
Aubin's works, 106 ; in The Un- 
natural Mother, no; in oriental 



267 



tales, III ; in popular redactions, 
u6; in Bunyan's works, 122; 
growth of taste for, 136 
Redactions, Vulgar, of romances, 

1 15-16, value of, 116 
Reeve, Clara, translator of Barclay's 

Argenis, 25 
Reformed Coquet, The (Mrs. Davys), 

70, 220 
Reformed Spaniard, The, 161 
Reformer, The (E. Ward), 48, 207 
Relation of the Country of the Jan- 
senia never till now described, 181 
Religious Courtship (Daniel Defoe), 

90, 133-34, 219 
Religious tracts, Examples of, 118 
Revengeful Mistress, The, 205 
Revived Fugitive, The, 202 
Reynolds, John, The Flower of 
Fidelitie, 26, 172; God's Revenge 
against Murder, 26, 162 
Richardson, Samuel, Reflective point 
of view in, 12 ; source of name 
Pamela, 1 5 ; and Lyly, 1 7 ; imi- 
tated by Mrs. Haywood, 99 ; his- 
tories of, combine novel and ro- 
mance, 116; relation to popular 
fiction, 120 ; Pamela or Virtue 
Rewarded, 233 ; progress of 
novel toward, 137 
Rival Mother, The, narrative com- 
edy, 70, 203 
Rival Princesses, The, 202 
Robinson Crusoe (Daniel Defoe), 
imitated by Mrs. Aubin, 106; the 
character of the hero, 128; second 
part, 128-29; didacticism in, 129; 

215 

Rogue, The, or the Life of Gtisman 

de Alfarache, 162 
Rohde on Ethiopian History, 11 
Rolls series, Origin of, 113 
Roman Bourgeois, Le (Furetiere), 

44, 47n 
Roman Histories of Florus, 160 
Romance recognized as literary 



form, 29 ; influence of oriental 
tale on, 1 1 1 

Romance of Cassandre, 33, 173 

Romance of Tarsis and Zelie, 196 

Romances, 1-49 ; Imitations of con- 
tinental models, 3 ; chivalric, 3-7 ; 
classical, 7-14; arcadian, 14-16; 
euphuistic. 17-18; political and 
allegorical, 18-27; heroic, 27-37; 
miscellaneous, 37-43 ; anti-roman- 
ces, 43-49 ; defined by Congreve, 
50-51; redactions of, 115-16; of 
France made English, 136 

Romanticism in oriental tales, 1 1 1 

Rosalinda, 229-30 

Rover, The, 21 ^n 

Rowe, Mrs. Elizabeth, on the ro- 
mances, 43 ; exponent of senti- 
mental piety, 93-94 ; Friendship 
in Death, 93, 94, 226 ; Letters 
Moral and Entertaining, 90, 93- 
94, 227 ; other works and popu- 
larity of, 94-95 

Rowlands, Samuel, Greene's Ghost 
Haunting, Conie-Catchers, 155 

Roxana, see The Fortunate Mistress, 

Royal Loves, 193 

Royal Shepherdess, The, 226 

Sacchetti, 8 

Sad and Lamentable News from 
Rumford, 185 

Sadeur, Jacques, New Discourse of 
Terra Incognita Australis, 203 

Sadler, John, Olbia, 23n, 178 

Sadler, T., Confessions and Exe- 
cution of the jive prisoners suf- 
fering at Tyburn, 188 

St. Theodora, Life of, 8 

Satire, in ideal commonwealths, 19 ; 
in Gulliver's Travels, 21 ; in Tale 
of a Tub, 22 ; adoption of letter 
as a form for, 74 

Satyricon (Petronius Arbiter), 9- 
10; 47, 179 



268 



Scandal in secret histories, 59, 60 ; 
in pseudo-memoirs, 61 

Scarborough Miscellany, The, 229 

Scarron, Le Roman Comique, 44 ; 
humor of, 45 

Scarron' s Comical Romance, 44, 186 

School of Slovenrie, The, 156 

Scipion, 178 

Scott, Sir Walter, on Gulliver's 
Travels, 21 

Scudery, Mile, de, Text of, cut by 
translators, 32 ; heroic conversa- 
tions of, 33 ; influence on English 
fiction, 36-37 ; Moorish setting in 
Almahide, 37 

Scuderys, The, Heroic romances of, 
27 ; Grand Cyrus, Almahide , 
Clelie, 28 

Second-Sighted Highlander, 2i3n 

Secret History of Mama Oello, 230 

Secret History of Miss Betty Ire- 
land, 207 

Secret History of Queen Zarah and 
the Zarazians (Mrs. Manley), 59, 
8s, 208 

Secret History of the Court of the 
Emperor Justinian, 185 

Secret History of the Duke of 
Alangon and Queen Elizabeth, 
203 

Secret History of the House of 
Medici, 198 

Secret History of the Present In- 
trigues of the Court of Cara- 
mania (Mrs. Haywood), 99, 225 

Secret History of the Prince of the 
Nasarenes and tivo Turks, 217 

Secret Memoirs of Bar-le-duc, 214 

Secret Memoirs of Robert Dudley, 
Earl of Leicester, 208 

Secret Services of M. de Vernay, 
194 

Select Collection of Novels, 219 

Select Dialogues of Lucian, 165 

Select Discourses out of the most 
eminent Wits of France and Italy. 



Self-analysis, popular, yz, increas- 
ing interest in, 114 

Sentiment, in heroic romance, 29, 
31 ; cult of, 73 ; growth of, shown 
in Mrs. Haywood's works, 103 

Sentimentalism, in heroic romances, 
37 ; popular, 72 ; in oriental tales, 
1 1 1 ; revival of, 1 14 

Settle's Fatal Love, 13 

Seven Champions of Christendom, 
The, 4 

Seven Years Slavery under the 
Turks of Algeres, 170 

Shelton translated Don Quixote, 44, 
158 

Sicilian Tyrant, The, 187 

Siden, Capt., History of the Seva- 
rites of Severambi, 186 

Sidney, Sir Philip, Arcadia, 14-16; 
contrasted with Lyly, 17 

Siegel, P., on Aphra Behn, 75 

Simplicissimus, 200 

Sir Roger de Coverly Papers, 95 ; 
culmination of character-sketch, 
137 

Skimmer, The, 231 

Smith, Alexander, Lives and Rob- 
beries of the most notorious High- 
zvaymen, 213 ; Secret History of 
the Loves of the most celebrated 
Beauties, 214; Comical and Tragi- 
cal History of the Lives and Ad- 
ventures of the most noted Bay- 
liffs, 2ig ; Memoirs of Life and 
Times of Jonathan Wilde, 224 

Social treatises, 89-91, examples of, 
90-91 

Some Remarkable Passages in the 
Life of a Private Gentleman, 210 

Sonne of the Rogue, The, 46, 168 

Sorel, Le Berger Extravagant, 44 ; 
Polyandre, 44; Histoire Comique 
de Francion, 44 

Spanish cycles in chivalric roman- 
ces, 5-7 

Spanish Decameron, 53, 200 



269 



Spanish Gallant of Dantisso, The, 
i6g 

Spanish intrigue and contemporary 
manners combined in English 
novels, 63 
Spanish Mandeville of Myracles, 
160 

Spanish novels of cloak and sword, 
Cynthia resembles the, 42 ; 52-53 ; 
114 

Spanish setting in 17th century ro- 
mances, 41 

Spectator, The, Character sketches 
in, 48, 96 ; social treatises in, 90 ; 
moral themes in, 95 ; oriental 
tales in, 11 1; apologues in, 112 

Spence, Ferrand, translator, 39 

Stage-coach Journey to Exeter 
(Mrs. Manley), 86, 22:^ 

Stanglmaier, Karl, Mrs. Jane Barker, 
I03n 

Stanhope, H., The Fortunate and 
Unfortunate Lovers, 231 

Steele, Richard, Writings of, ex- 
press ideal of the age, 95 

Stock themes in Mrs. Rowe's works, 
94 

Strange Adventures of the Count 
Vinevil and his family, 106, 1070, 
218 

Strange Apparition li'hich appeared 
to Lady Grey, 194 

Strange Example of God's Judg- 
ment, 171 

Strangements ; news from the land 
of Chivalry, 193 

Strangest Adventure, The . . . Con- 
taining a discourse of Dom Se- 
bastian, 154 

Structure, in Greek romances, 12 ; 
development of, 137 

Style, in Greek romances, 13, 
Swift's 22 ; in heroic romances. 
28 ; in miscellaneous romances, 
40 ; in Novelle, 63 ; in novels of 
manners, 65-66 ; in The Gener- 



ous Rivals, 69 ; Mrs. Behn's, 79, 
84-85 ; in dialogues, 97 ; influ- 
ence of fable and apologue on, 
113; Bunyan's 123; Defoe's 127, 
134; progress in development of, 
137 

Sufferings and Death of the Faith- 
ful, 208 

Supernatural, The, in news-narra- 
tives, 119; in Defoe, 132 

Surprise, The (Mrs. Haywood), 
102, 223 

Surprise and suspense in Greek ro- 
mances, 12, 30 

Swift, Jonathan, Gulliver's Travels, 
21-22, 224, 22sn ; Tale of a Tub, 
22 ; influence on fiction, 22-23 ; 
Polite Conversations, 22, 97 ; on 
Mrs. Haywood, 98 

Symmons, Mrs., The Whimsical 
Lovers, 223 

Table of Cebes, the Theban, 159 

Tachmas, Prince of Persia, iii, 187 

Taffy's Progress to London, 209 

Tale of a Tub (J. Swift), 22 

Tarsus and Zelie, 226 

Tatler, The, Social treatises in, 90 ; 
moral themes in, 95 ; character 
sketch in, 96 

Taxila, 41 ; 203 

Tea-Table, The (Mrs. Haywood), 
novels in embryo in, 90 ; moral 
themes in, 95 ; sentimentality 
criticized, 102-3 

Teixeira, Jose, Strangest Adven- 
ture ... of Dom Sebastien, 154 

Theagenes and Chariclea similar to 
modern novel, 14 

Theopolis or the City of God, 183 

Timberlake, Henry, True and 
Strange Discourse of the Travails 
of tzvo English Pilgrims, 155 

Title pages, Mrs. Aubin's descrip- 
tive, i07n 



270 



Toland, John, Description of Epsom 

in a Letter to Eudoxia, 47, 212 
Tom of Lincoln, 4, 157 
Tragi-comical History of Alexander 

and Angelica, 169 
Tragi-comical History of Our Times 

under the Borrowed Names of 

Lisander and Calista, 59, 166 
Tragical History of the Chevalier 

du Vaudray and the Countess 

Vergi, 2 SI 
Tragical History of Two Illustrious 

Families, 187 
Tragicke Loves of Hippolito and 

Isabella, 164 
Travels and Adventures of three 

Princes of Sarendip, 219 
Travels of Don Francesco de 

Quevedo Through Terra Australis 

Incognita, 20, 197 
Travels of Love and Jealousy, 204 
Travels of Persiles and Sigismtinda, 

160 
Treasurie of Amadis of Gaule (H. 

Bynnerman) 5 ; one source of 

Arcadia, 14 
Trepan, The, 176 
Triana, 53-54; 175 
Trip through the Town, A, 231 
Triumph of Friendship and the 

Force of Love, 197 
Triumph of Love over Fortune, 190 
Troubled-spirited Man's Departing, 

166 
Troublesome and Hard Adventures 

in Love, 174 
Tryal of Mrs. Mary Carleton, 179 
Turkish Tales, 210 
Two Journals; the first kept by 

seven sailors in Greenland, 229 
Two Lancashire Lovers, The, 170 
Tyburn Calendar, The, 207 

Unequal Match, The, 194 
Unexpected Choice, The, 182 
Unfortunate Court Favorites of Eng- 
land, 204 



Unfortunate Duchess, The, 232 
Unfortunate Lovers, The, 207 
Unfortunate Politique, The, 168 
Ungrateful, The (Mrs. Plantin), 112 
Unhappie Prosperity, 165 
Unhappy Lovers, The, or the His- 
tory of James Welston, 108, 229 
Unhappy Lovers; or the Timorous 
Fair One, Story of the, 64-65 ; 
204 
Unhappy Loves of Herod and Mari- 

amne, The, 221 
Unity of narrative in Robinson 

Crusoe, 129 
Unlucky Citizen (Kirkman), 46, 184 
Unnatural Mother, The, no, 231 
Unsatisfied Lovers, The, 196 
Urfe, Honore d', Astree, 28 ; pat- 
terned after Heliodorus, 29 
Utopia (Sir Thomas More), 19-20 
Utter, Robt. P., on Euphues, 17 

Vain Prodigal Life and . . . Death of 
Th. Hellier the Murderer, 193 

Valentine and Orson, 4 

Vane, Henry, A Pilgrimage into the 
Land of Promise, 179 

Veiled histories. Types of, 59-60 

" Vice punished," in Mrs. Hay- 
wood's novels, loi ; in Mrs. Au- 
bin's, 106-7 

Viceroy of Catalonia, 190 

Vie de Marianne, La (Marivaux), 
no, 222 

Villegas, see Quevedo-Villegas 

Vincentio and Margaret, 156 

Virtue and vice. Struggle between, 
no 

Virtue, Reward of in Mrs. Barker's 
Capt. Manley, 105-6 ; in narratives 
of Mrs. Aubin, 106; in histories 
of popular heroes, 117 

Virtue Rewarded, 63, 204 

" Virtue rewarded," in heroic ro- 
mances, 31 ; in Mrs, Haywood's 
novels, 1 01 ; in Mrs. Aubin's, 106- 
7 ; in popular love story, 120 



271 



Visiotis and discourses (Quevedo- 

Villegas), 48 
Visions of Don Francisco de Queve- 

do y V ill e gas, 180 
Voiture, Alcidalis and Zelide, 39 
" Voyage imaginaire," one form of 

ideal commonwealth, 19, 23 ; in 

allegorical romances, 27 
Voyage of the Wandering Knight, 

118 
Voyages and Adventures of Capt. 

Robert Boyle, 22^ 
Voyages of Cyrus, The, 113, 228 

Waldberg, von, on writing " a la 
Portugaise," 73 

Wandering Whore, The, 179 

Wanton Fryer, The, 202 

Ward, E., A Frolic to Horn Fair, 
206 ; The Reformer, 48, 207 ; 
The London Spy Compleat, 48, 
207 

Weames, Mrs. Anna, Continuation 
of Sir Philip Sidney's Arcadia, 
172 

Weaver, T., Plantagenet's Tragicall 
Story, 1 72 

Webster, W., Plain Man's Pilgrim- 
age, 159 

Westward for Smelts, 161 

Wharey, James B., A Study of the 
Sources of John Bunyan's Alle- 
gories, 1 2 in 



When Knighthood was in Flower, 

57 

Whimsical Apothecary, The, 233 

Whittell, Robert, Way to the Celes- 
tial Paradise, 161 

Whole Comical Works of Monsr. 
Scarron, 207 

Whole Life of Granny, The, 212 

Wife for a Husband and a Hus- 
band for a Wife, 191 

Winter Evening Tales, 52, 113, 229 

Wit and Fancy in a Maze, by S. 
Holland, 45 

Witty Jests and Mad Pranks of 
John Frith with Capt. James, 185 

Witty Rogue Arraigned, The, 176 

Wonderful Accident which occurred 
upon the Execution of a Christian 
slave at Aleppo, 187 

Works of Rabelias, 175 

World's Olio, The (Duchess of 
Newcastle), 91-92 

Wroth, Lady Mary, Countess of 
Montgomery's Urania, 16 ; 161 

Xenophon's Ephesian History, 226 

Zayde, 190 

Zelinde burlesque of Alcidalis and 

Zelide, 39 ; digression in, 68 ; 

187 



THE COLUMBIA UNIVERSITY PRESS 



STUDIES IN ENGLISH 



Joseph Glanvill. By Ferris Greenslet, Ph.D., Cloth, ismo, pp. xi + 235, 
$1.50 net. 

The Elizabethan Lyric. By John Erskine, Ph.D., Qoth, ismo, pp. xvi 
+ 344, $1.50 net. 

Classical Echoes in Tennyson. By Wilfred P. Mustard, Ph.D., Cloth, 

i2mo, pp. xvi + 164, $1.25 net. 
Sir Walter Scott as a Critic of Literature. By Margaret Ball, Ph.D., 

Paper, 8vo, pp. x + 188, $1.00 net. 
The Early American Novel. By Lillie Deming Loshe, Ph.D., Paper, Svo, 

pp. vii + 131, $1.00 net. 
Studies in New England Transcendentalism. By Harold C. Goddard, 

Ph.D., Paper, 8vo, pp. x + 217, $1.00 net. 

A Study of Shelley's Drama " The Cenci." By Ernest Sutherland 

Bates, Ph.D., Paper, Svo, pp. ix + 103, $1.00 net. 
Verse Satire in England before the Renaissance. By Samuel Marion 

Tucker, Ph.D., Paper, Svo, pp. xi + 245, $1.00 net. 
The Accusative with Infinitive and Some Kindred Constructions in 

English. By Jacob Zeitlin, Ph.D., Paper, Svo, pp. viii + 177, $1.00 ne/. 
Government Regulation of the Elizabethan Drama. By Virginia Cro- 

CHERON Gildersleeve, Ph.D., Cloth, Svo, pp. vii + 259, $1.25 net. 
The Stage History of Shakespeare's King Richard the Third. By Alice 

L Perry Wood, Ph.D., Cloth, Svo, pp. xi + 1S6, $1.25 net. 
The Shaksperian Stage. By Victor E. Albright, Ph.D., Cloth, Svo, pp. 

xii + 194, $1.50 net. 
Thomas Carlyle as a Critic of Literature. By Frederick W. Roe, Ph.D., 

Cloth, Svo, pp. xi + 152, $1.25 net. 
The Authorship of Timon of Athens. By Ernest Hunter Wright, Ph.D., 

Cloth, Svo, pp. ix + 104, $1.25 net. 
English Tragicomedy, Its Origin and History. By Frank H. Ristine, 

Ph.D., Cloth, Svo, pp. XV + 247, $1.50 net. 

Lemcke & Buechner, Agents, 
30-32 West 27th Street New York 



THE COLUMBIA UNIVERSITY PRESS 



STUDIES IN ENGLISH 



Leigh Hunt's Relations with Byron, Shelley and Keats. By Barnette 
Miller, Ph.D. 8vo, cloth, pp. vii + 169, $1.25 net. 

The Rise of the Novel of Manners. By Charlotte E. Morgan, Ph.D. 
8vo, cloth. Price, $1.25 net. 

John Dennis. His Life and Criticism. By Harry G. Paul, Ph.D. 8vo, 
cloth. Price, $1.25 net. 

New Poems of James VL and I. By Allan F. Westcott, Ph.D. 8vo, 
cloth. In press. 

The Middle English Penitential L3n:ic. By Frank Allen Patterson, 
Ph.D. 8vo, cloth. Price, $1.25 net. 

The Exemplum in the Early Religious and Didactic Literature of Eng- 
land. By Joseph Albert Mosher, Ph.D. 8vo, cloth. Price, $1.25 net. 

The Soliloquies of Shakespeare. By Morris LeRoy Arnold, Ph.D. 8vo, 
cloth. Price, $1.25 net. 

The Political Prophecy in England. By Rupert Taylor. 8vo, cloth. 
Price, $1.25 net. 

STUDIES IN COMPARATIVE LITERATURE 



Romances of Roguery. By Frank Wadleigh Chandler, Ph.D. Part L 

The Picaresque Novel in Spain. i2mo, cloth, pp. ix + 483. Price, 

$2.00 net. 
A History of Literary Criticism in the Renaissance. By Joel Elias 

Spingarn, Ph.D. Second edition, revised and augmented. i2mo, 

cloth, pp. xi + 330. Price, $1.50 net. 
Platonism in English Poetry of the Sixteenth and Seventeenth Cen- 
turies. By John Smith Harrison, Ph.D. 121110, cloth, pp. xi + 235. 

Price, $2.00 net. 
Irish Life in Irish Fiction. By Horatio Sheafe Krans, Ph.D. i2mo, 

cloth, pp. vii + 338. Price, $1.50 net. 
The English Heroic Play. By Lewis Nathaniel Chase, Ph.D. i2mo, 

cloth, pp. xii + 250. Price, $2.00 net. 
The Oriental Tale in England in the Eighteenth Century. By Martha 

Pike Conant, Ph.D. i2mo, cloth, pp. xxvi + 312. Price, $2.00 net. 
The French Influence in English Literature. By Alfred Horatio Upham, 

Ph.D. i2mo, cloth, pp. ix + 560. Price, $2.00 tiet. 
The Influence of Moliere on Restoration Comedy. By Dudley H. 

Miles, Ph.D. i2mo, cloth, pp. xi + 272. Price, $1.50 net. 
The Greek Romances in Elizabethan Prose Fiction. By Samuel Lee 

Wolff, Ph.D. i2mo, cloth. Price, $1.50 net. 

Lemcke & Buechner, Agents, 
30-32 West 27th Street New York 



THE COLUMBIA UNIVERSITY PRESS 

Columbia University in the City of New York 




The Press was incorporated June 8, 1893, to promote the publication 
of the results of original research. It is a private corporation, related di- 
rectly to Columbia University by the provisions that its Trustees shall be 
officers of the University and that the President of Columbia University 
shall be President of the Press. 



The publications of the Columbia University Press include works on 
Biography, History, Economics, Education, Philosophy, Linguistics, and 
Literature, and the following series : 

Columbia University Biological Series. 

Columbia University Studies in Classical Philology. 

Columbia University Studies in Comparative Literature. 

Columbia University Studies in English. 

Columbia University Geological Series. 

Columbia University Germanic Studies. 

Columbia University Indo-Iranian Series. 

Columbia University Contributions to Oriental History and 

Philology. 
Columbia University Oriental Studies. 

Columbia University Studies in Romance Philology and Liter- 
ature. 
Blumenthal Lectures. Hewitt Lectures. 

Carpentier Lectures. Jesup Lectures. 

Julius Beer Lectures 

Catalogues will be sent free on application. 



Lemcke & BuECHNER, Agents 

30-32 WEST 27th ST., NEW YORK 



=^/-.r.-\^ 



'^-^^ 
















* « I A ° \ V 



V' 



•^oo^ 









\'^ 



^\-^ 


















..V-' . 









/. 



'% 4 






.s. A'- 















.s'^%. =/^^" £{)/*' ^X^ 



AN 






> \. 



N C.^ _ -/^ 









'^o 



7 Z 






'<' V, 




■%<i^ 












"^a K^ 






.-^ .^^ -n^. 





















A-* 



<", 



,-0' 






' , V ■* A O, ' 



\' 



O^ 



* ; vi o 






^-^A V^'' 



,0c> 



■^^st^^ 



<;• 



c- 










\ 



,<^^ 



- -■ Deacidified using the Bookkeeper process. 
Neutralizing agent: IVIagnesium Oxide 
Treatment Date: Jan. 2009 

. ' ^M^ PreservationTechnologies 

'O 0^ <>■ 0^S •WORLD LEADER IN COLLECTIONS PRESERVATION 

J ■* yj ffn '111 Thomson Park Drive 

<l> "^Co -r ^Q'iW- Cranberry Township, PA 16066 










') N ' A*^ 



W'^'^ 



'b.-T^'-^^^' 



r^ ^ 8 



/ C' 



'^ V^ ss-^. 



V </> 



r^ .v, * 



,^^^% °.mv. ^^'% 



c^ 



.-.V -^. °, 






<". '0, X-* .V^ 



















.., '^ 









"^^ v^^ 

x^^^ 



0^ v"'"* , % 



<. '— * A^ 






^\ 



,0^ 









cv 



o' 






x-i>- 






'^'i'^' 






. - , X * .•\ 



xO°^. 



-.«?*', 



.5 -n.. 



■0 



\0 O. 



V tP„ 






X"^-<. 



,0- 












>^'''^° :/.-«-%:••■'•'/ 

=/"--/ 



O ' » 



.^^^ 



%^^^ 



•^^ 






^'"■"/--•.^'••^^cP^- 






^ ' » « "-Cf, 



/v^-^ '' -f^ 




'^, .-^^ 



X^^x. 



V 






013 976 656 8 « 



